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SAN FRANCISCO, CA 94146-0760 
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For what it's worth, here's some of the MRR 
reviewers' current Top 10 (or so) things we've 
reviewed this month. 

TOP 10 

' M ;i M 1 ;J iW f :' . ! ^^^■■■■■H 






OUTLOOK-Our Time is Now-LP 



FRENZY-Noizey Trouble-EP 






BACK TO BASICS-ln the Cloud Seven-EP 

THE WRONG WORDS-I Will Change Your...-45 

THE GOLDEN BOYS-Dirty Fingernails-LP 

LOUDER-Get Out/Dud-45 

OBNOX-Masonic Reducer-EP 

KICKS-The Secret/The Return of the Action.. .-45 

THE BUMS-Do It All Night-EP 

<: -;il|- III :>■■■■■■■■ 




EYESORE-Love the Old, Learn the New-EP 






THE GOLDEN BOYS-Dirty Fingernails-LP 

WILDMEN-20.000$/Goin' Away-45 





THE PAPERHEAD-Pictures of her Demise/She...-45 


GG KING-Joyless Masturbation/Bag-45 








MAN LIFTING BANNER-Revolution Continues-2XLP 

OUTLOOK-Our Time is Now-LP 


GG KING-Joyless Masturbation/Bag-45 




NOOSE-The War of All Against AII-EP 




MAN LIFTING BANNER-Revolution Continues-2XLP 

HUNTING PARTY-Red Summer.. .-EP 


NO POWER-both EPs 



ADULTS-Vol ll-tape 

DISPLEASURE-live at Gilman 

HUNTING PARTY-Red Summer.. .-EP 


ALABASTER CHOAD-Crash of the Limburger...-LP 

V/A-Complete Aural Turmoil-EP 

OUTLOOK-Our Time is Now-LP 



RAG RAGE-live 

! d ! 1 ! i J M i MMMBHMBH^^^^^^^^^^^^^^^^ 

"Vacation all 1 ever wanted..." 




TOP 10 

Please send two copies of vinyl, CD-only, or demo 
releases to the address on the previous page 


THE NORMALS-Vacation to Nowhere-CD 
THE WRONG WORDS-I Will Change Your...-45 
LA CORDE-Unmarked DoorsA/irus-45 
G.GREEN-Funny Insurance/Sounds Famous-45 

KICKS-The Secret/The Return of the Action...-45 



GG KING-Joyless Masturbation/Bag-45 


TZN XENNA-1981/2011-EP 

THE GOLDEN BOYS-Dirty Fingernails-LP 


KICKS-The Secret/The Return of the Action.. .-45 


G.GREEN-Funny Insurance/Sounds Famous-45 

THE SKUNKS-Shake-45 

G.GREEN-Funny Insurance/Sounds Famous-45 



NO POWER-both EPs 

STAG-Get Used to It-EP 

ALABASTER CHOAD-Crash of the Limburger...-LP 

OUTLOOK-OurTime is Now-LP 

Ui! l l l !.!!;i l .l l H > U"AMJH:i 

SICKOIDS-LP and live 


GG KING-Joyless Masturbation/Bag-45 


TZN XENNA-1 981/201 1-EP 

ALABASTER CHOAD-Crash of the Limburger.. 




PARAF-Prekinuti Koitus: 1 978-1 979-LP 


SEX DRIVE-Urban Predator-EP 

HUNTING PARTY-Red Summer.. .-EP 




Make A Mess #3 
Radikal #8 
Absolutely Zippo #9 
Fuck the World Vol. 1 
t's Down to This 

THE NORMALS-Vacation to Nowhere-CD 

UZI RASH-Whyte Rash Time-LP 
OBNOX-Masonic Reducer-EP 




LA CORDE-Unmarked Doors/Vlrus-45 • 


OUTLOOK-Our Time is Now-LP 
STAG-Get Used to It-EP 
RAG RAGE-live 

GROWN-UPS-Spare Time-EP 
' FRENZY-Noizey Trouble-EP 

Equalizing Distort Vol 12 
Pasazer #28/829 
Zarata #6 
$pare Change #22 
Miserable Enough #1 


Mariel Acosta 
Ariel Amend-all 
Peter Avery 
Michelle Bamhardt 
Will Blomquist 
Julia Booze 
Justin Briggs 
Mitch Cardwell 
Matthew Collado 
E Conner 
Tayla Cooper 
Arwen Curry 
Stephanie Deathpunk 
Mark Dober 
Brian Dooley 
John Downing 
Robert Eggplant 
Lowell Fletcher 
Travis Fristoe 
Hector Garcia 
Bob Goldie 
Danielle Gresham 
Vernon Hadley 
Tom Harding 
Robin Home 
Jill Hubley 
Clara Jeffers 
Kenny Kaos 
Max Lavine 
Mike Longshot 
Jesse Luscious 
Kevin Manion 
Kevin McCarthy 
Jeremy Meier 
Paco Mus 
Golnar Nikpour 
Langford Poh 
Rotten Ron Ready 
Keith Riley 
Steve Scanner 
Cissie Scurlock 
Martin Sorrondeguy 
Thera Webb 


Sam Alvarado 
Matt Average 
Matt Badenhop 
Michael Beck 
Heidi Marshall Bootl 
Tim Brooks 

Robert Collins 
Rob Coons 
Sarah Crews 

Emma Deboncoeur 
Alex Dorfman 
Sean Dougan 
Amelia Eakins 
Juliana Ferreira 
Jonathan Floyd 
Steve Funyon 
Dan Goetz 
Gemma Greenhill 

Greg Harvester 
Mike Howes 
Sarah Janet 
Ramsey Kanaan 
Brad Lambert 
Pat Libby 
Ray Lujan 
Hal MacLean 
Jeff Mason 

Tony Molina 
Adam Nelson 
Isaac Pirie 
Spencer Rangitsch 
Casey Ress 
Ken Sanderson 
Jess Scott 
Kat Smith 
Tobi Vail 
Andrew Underwood 

Shiva Addanki 
Ariel Awesome 
Irace Belden 
Mykel Board 
Kat Case 
John Fahy 
Tony Gunnarsson 
George Impulse 
Sam Lefebvre 
Allan McNaughton 
Al Quint 
Alex Ratcharge 
George Tabb 
Logan Worrell 
Viktor Vargyai 
Colin Defect 
Boo Boo Danger 
Zachary Flanary 
Brad Lambert 
Martin Roldon Ruiz 

Lydia Athanasopoulou 
Chuck Barrels 
Bryony Beynon 
Graham Booth 
Chris Corry 
Bill Florio 
Felix Havoc 
Carolyn Keddy 
Marissa Magic 
Brontez Purnell 
Ted Rail 
Jessica Skolnik 
Andrew Underwood 
Imogen Binnie 
Osa Atoe 
Jesse Conway 
Kevin Dunn 
Andy P 

Matt Siancome 
Aminah Slor 


Francesca Foglia 



Mariam Bastani Layla Gibbon 







#l86/Nov *98. Registrators. August Spies, Marilyn's 
Vitamins, Chinese Love Beads 
#188/Jan '99. Sutches. Neighbors, Mansfields, Real 
Swinger, Marauders. Mark Bmback. Mars Moles. 

#189/F>b '99. Monster X, Peter & the Test Tube 
Babies, Steam Pig, Maurauders. Yakuza, Dead Beat, 
Halfways. Hoi Rod Honeys. DcRita Sisters 
#I90/Mar '99. John Holstrom, Powerhouse. Brezh- 
nev. Slappy. Black Pumpkin, Smartbomb ea. Wanda 
Chrome. Long Gones, Smogtown. Halfways. Tilt 
#I91/April '99. Murder Suicide Pact, Kil Kare, 
Dudman. Super Hi-Kives, Better Than Blvis DJs, Pet 
Peeves, Loose Ends, Slingshot Episode 
#I95/Aug '99. Moral Crux. RC5, Have Nots, 111 
Tempered. Dysentery, Greg Higgins, Revlons, Larry 
& the Gonowheres 

#l97/Oct '99. Reducers SF, Lower Class Brats. Re- 
actor 7. TheGodsHateKansas, Futurolncierto. Show- 
case Showdown, Waifle, Flat Earth Recs 

#208/Sept '00. Le Shok. the Commies, the Chemo 

Kids, Day of Mourning. Affront, Diaspora, Whip- 

persnapper, Hopeless/Sub, City. Prank, Countdown 

to Oblivion 

#209/Oci '00. Loose Lips. Godstomper. Peace of 

Mind. FYP, I Farm. Annalise. Cattle Decapitation. 


#2I4/M«r '01. Cnspus Attucks, Fetish. Lifes Halt. 
Mr Roboto. Dream Dales, Sauin McNugget, Havoc, 

#2I8/July "01. Guyana Punchline, Les Sexareenos, 
The Devil Is Electric, Red Monkey. White Collar 
Crime, Forca Macabre, The Ataris, Suicide, The Mob 

#22 1 /Off 'ill. The G8 Summit. Reflections, Soophie 
Nun Squad. Tolalitar, True North, Wontons. Sin Dios, 
Bottles & Skulls, Scarred For Life, Flowers in (he 
Dustbin. Remains of the Day. Ritchie Whites, B'67 

NZM/Nm '(12. Snobs. What Happens Next? Brazil- 
ian tour. Ihe Oath. Radio 4. Feederz, Charm City 
Suicides. Selfish. Riot 99. End On End, Peawees, 

#23*/3an '03. Mr California & Stale Police. Iron 
Lung, Riff Randells. Chainsav., Artcore, Latterman. 
Travis Cut. Phenomenauis. Pretty Little Flower, X- 

«238/Mar '03. World Bums lb Death, Chronics, Vi- 
lently III, Dystopia. Pilger. Exotic Fever, Brezhnev. 
R.A.M.B.O , Blown To Bits, Put To Shame. Decondi- 
tioned, This Bike Is A Pipe Bomb. Monsters 

#2J9/Apr '03. Romanian D-beat, Meconium Re- 
cords. Amazombics, Abandoned Hearts Club, Mike 
V & the Rats, Nieki Sicki. Bigamists, Bolivia article. 
Negatives, Kuolema. Defiance 

#240/M»> 'A3. I Quit. Apers. Headless Horse- 
men, Lesser of Two, Barse, Nightmare, Music Zine 
Roundtable. Exploding Heans. Flesh Packs, Blacklist 

#24l/.Iune '«3. Tyrades. Lumbcrgh, The Stand By 
Me, New Mexican Disaster Squad, Cui tlie Shit, Litv 
ertinagem. 17th Class, the Ends, He Who Corrupts, 
Deathbag, Cria Cueryos 

#242/.luty '03. Pensacola & San Francisco punk pro- 
test reports, John Wilkes Booze. Anfo, Bob Suren, 
Migra Violenla. Jackson 8, Snakepii zine . Krigshol. 
the Rites. Deadfall 

«43/.\ur '«3. "Media Alliance and the FCC," Strik- 
ing Distance, Malcontents. Invisible City. Books Lie. 
Charm City An Space. Hopeless Dregs of Humanity. 
1 Shot Cyrus. Sunday Morning Emsleins. What the 
Kids Want. Onion Flavored Rings. 

#244/Nepl '03. None More Black. Deadline, Rai Ko 
Ris, Boxed In. Exploding Heahs. Raving Mojos, 
Blackout Terror. Monicia's Lovers. Thee Fine Lines, 
Trust zine 

#245/Oct '03. No Time Left. Riistetyt. Iniense Youth, 
The Gimmies, Ass End Offend, Animus Pyle, La 
Fraction, Kung Fu Rick. The Horror 

H246/1W '03. Punk & Resistance in Israel, Letters 
from Palestine, No Choice, FM Knives, Bury the 
Living. Marked Men. The Dirty Burds, Provoked 

#247/I>ec '03. DSB, The Boils, Popular Shapes, 
Phoenix Foundation. Bathtub Shitter, Meet the Virus, 
Cropknox, "Punk Babies on Tour Anicle 

H249/Feh "04. From Ashes Rise. Hagar the Womb. 
This Is My Fist. Skip Jensen, Gride. Katy Otto/Mike 
Taylor Dialogue, John Yates, Pointing Finger 

#250/\lnr '04. Besl Records of 2003. Miami FTAA 
protests, Clorox Girls. HYA. "La Villita: Chicago 
Pilsen Scene," Terminus Victor, Restarts. Damage 
Done, Kmghts of New Crusade 

MSI/April '04. The Fuse!. Vakivaltaa. Modem Ma- 
chines. Microcosm. Migra Violent a Euro tour diary, 
Allegiance. Neurotic Swingers, Xavier Lepaige Pho- 
tos, Le Scrawl. Vrah 

#253/Jun* '04. Sweet J A P. Gorilla Angreb, Voet- 
sek, Minority Blues Band. Scruvy Dogs, Moloiov 
Cocktail, Kidnappers, Schifosi, King Ly Chee. YDI 

8254/July '04. No Hope For Ihe Kids, Dropdead, 

Diskords, Breakfast, Asschapel, I Excuse. Strung Up, 
To Hell & Back. Four Eyes, Lamant, Gammits MW, 
scene reports from Portland. Boston and Germany 

#255/Aue '04. "Punk's Not Dead. Reagan Is" Special 
Issue Leatherface, Get It Away, Ihe Hatepinks. Keen 
Monkey Work. New York City, South Dakota, Czech 
Republic. Philippines. Russia: 

#256/Sep '04. Observers, Witchhunt. Annihila- 
tion Time, Zann, Eskapo. FxPxO, Haymarket Riot, 
Fourth Rotor, Les Georges Lemgrad, Texas scene. 
Newfoundland. Indiana, England 

#257/Oct '04 Ihe Election Issue, Jesse Townley, 
Matt Gonzalez. Ratios, Fighting Dogs, Hero Dishon- 
est, Kickz. Boss Martians, Reactionary 3. Slovakia. 
Australia. South Wales. South East Asia 

#258/Nov *04. Career Suicide, Cathy Wilkerson of 
the Weather Underground, No Fucker. The Rcpos, 
Dominaim. Ashtray, Dcadstop. Midnight Creeps, 
Michale Graves, The Diffs. Shemps. Abi Yo Yo's. 

#2S9/Dec "04. Bad Business, Penelope Houston, 
Ram bo. Al. Ass, I Attack. The Krunchies. A-Lines, 
lnsurgence Records. The Hates. Accidents, Mass- 
grav, The Critics, Merciless Game, SF Hotel Workers 
Strike, photos from Japan. SoCal &. the Bay Area 

#260/Jan "OS. Technocracy. The Total End. Only 
Crime. True North, Partisans, For The Worst, Dick 
Spikie. Straight 10, Hell, Black Cross, Action, Ergs. 
Ratty Nails. Qu«r Activism in London, Greg Shaw 
tribute, John Peel tribute. Andrew "Stig" Sewell trib- 
ute. Beijing punk photos 

#26 1. 'Feb "OS. Year End Top Tens, Rhsteiyt. Lost 
Cherrees, Complete Control Cheap Sex, Gasoline 
Please. Beerzone. Greyskull, MOTO. Water Into Beer 
Fanzine. Swe-Punk scumpit, Japan punk photos, Bay 
Area punk photos, Texas, Russia, and Malaysia scene 

#262/March '05. Kamvapcn Attack. Neo Boys, 
Catholic Boys, Dead Moon. Wreckage. Frantix. Ar- 
mitage Shanks. Wendy Kroys, To What End 1 ', Cell 
Block 5, Bent Outta Shape. Ah-Nah Tron, Slovakia. 
Indonesia, and Illinois scenes 

#263/April '05. All Crushes Spending Loud Night 
2004. Bombeiralarm, BanTeship. APA, The Black 
Lips, Words That Bum. Flamingo 50, The Low Bud- 
gets. Mellakka. I Object, Antisect. Bay Area scene 
report. South Coast UK scene report 

#264/M»y '05. Crime. Love Songs. Bruce Banner. 
Intent. The Holy Mounlain. Have Heart, The Bill 
Bondsmen, The Real Losers, archive photos, Bay 
Area scene photos, Taiwan and Rochester scene 

«2t.5/.lunF '05. Endless Nightmare, Hard Skin. 
Kolokol. Amebix. Transistor Transistor, The Safes. 
The Detonators, Finland scene report France scene 
report, SoCal scene report 

#266/.luly '05. The Carbonas, MDC, Destrux. Un- 
kind, Hiretsukan, Giant Haystacks, Ohuzaru, Teen- 
age Harlets. Michigan scene report, San Diego scene 
report, Eugene, OR scene report, photos 

#267/\ugMsi '05. Knugen Faller, Sleeper Cell, Mo- 
torama' Gulcher Records history. Army of Jesus, The 
Slicks, Thee Merry Widows, Rotten Sound, The Fac- 
tion (UK). Czech and New Zealand scene reports. 

#268/September '05, Signal Lost, Gulcher Records 
history part two, Teenage Botilerockei. Matiilda (aka 
Matt Bernstein Sycamore), The Spectacle, Bang 
Sugar Bang, Chumbawamba. Reason of Insanity, 
Forward To Death, Flyer art. Florida Scene- Report. 
Bay Area scene report, photos 

#269/Oclober '05 Hammer, Desastre, Human Eye. 
Les Bellas. Gasmask Terror. Randy "Biscuit" Turner 
tribute. Stalag 17 (UK). Stepbrothers, Retching Red, 
Weaving the Deathbag, Gather, Chicago and SoCal 
scene reports 

#270/Nov ember '05. Clorox Girls European Tour. 
Czolgosz, Regulations. Time Flys. Taxi. No More 
Lies. Oil!, Paddy Costello of the Dillmger Four. 
Smanpils, Revenge of Mongoloid, Pissehnsi. Scene 
reports Puerto Rico, UK. Russia 

#27l/Deccmher '05. BeslhOven, Abductec SD, Trac- 
lor Se\ Fatality, George Harrison. Dealhtoll. Photos 
by icki. Ice & The Iced, the Ulcers, Chimps Eat Ba- 
nanas. Deranged / Criminal IQ / Kick "n' Punch Re- 
cords Scene reports Iowa. Maine. Illinois 

#272/.lanu»ry '06. Conga Fury. Let's Grow, Frustra- 
tion, Bastardass, Icons of Filth, Burial, Hrydjuverk, 
Cranked Up!. Urrke T & the Midlife Crisis, Trope- 
zio. Baboon of Sickness zine Scene reports Austin, 
France, Michigan. Larry Wolfley photos 
#273/Fcbruary '06. Fuses. Endstand, Out CokL.Pe- 
destrians. Acts of Sedition, BadEatingHabits, West- 
em Addiction. Jesus Fucking Christ. Toxic Waste, 
Punk photo spread. St Louis, USA& Brighton. UK 

house Records, Contaminators, Oi Polloi, Obstruc- . 
lion. 1 Walk the Line, Utopia 

«298/M»rch *08. Best of 2007. Autistic Youth, While 
Lung, Karma Sutra, Clusterfuck, Sharon Cheslow, 
Slaughter of the Innocent. 

#299; April "08. Government Warning. Age, Off With 
. Their Heads, Guided Cradle, Go It Alone, Fy Fan. 
Daily Void, Hungarian Scene history 
#300/M«y '08. NorCal Punk Special Fix My Head, 
Black Rainbow Tank Crimes. Young Offenders. 
Church Police. Traditional Fools, Six Weeks/Short 
Fast & Loud. Ecoli 

#30|/.lune '08. Underground Railroad to Candyland. 
Siraightjacket Nation. Red Dons, Spectres, Dean 
Dirg, Kola. Los Violadores, the Sears, Tentacles of 
Destruction, Antibodies. Head on Collision 

U3WMy '08. Giuda, Wasted Time, Reality, Sin 
Orden. Teenage Head, Antidote, La Urss. Canadian 
Rifle, Seasick, Israel & Japan scenes. 

t'M)i- Uitiiist "08. Double Negative, Burnt Cross. 
Masapunk. Chicago Clitfesi. Iniifada, Nuclear Death 
Terror. Raw Power, Unlovables, Waste. Chaos In 
Tejas photospread. Houston and Grand Rapids scene 

#304/Septembcr '08. Raymond Pettibon. John Stabb 
of Government Issue, Cola Freaks, Measure [sa]. The 
Press, XYX, Simply Saucer. Kulturkampf. Andy T. 
FPO. and Columbia scene report 
#305/Oi:lober "08. Pierced Arrows, Bum Kon. Deep 
Sleep, Diente Perro. IRA. Legion of Parasites. Reali- 
ty Control, Riot City Records, Stations, Test Patterns. 

s306/Nnv ember '08. Brain Handle, Assassins. 
Diodes (pi I), °7 Shiki, Black Dove, No Bunny, 
Shellshag, Sista Sekunden, Vivian Girls, Animals 
And Men 

#308AliHiuary '09. Punks& Film Special with Target 
Video, Whatever Happened- To Susan Jane, Cleve- 
land's Screaming, Mondo Vision. After the Salad 
Days. You Weren't There, Bolinada. Taqwacores, 
and more 

#309yFebruan '09. Ooga Boogas, Mind Eraser. 
Cococoma, Extortion, Boyracer, Nixe. Mr. Califor- 
nia, Dealhcage, Squalors. Maniax. Null and Void. 
Think Fast 

#3IO/'M»rch '09. 2008 Year-end Top Tens Health 
Issue Special-Interviews with Mikey Mind, Chns 
Colohan and Craig Lewis, plus tons of articles 

#3I1/April '09 Prim Media special with Erick Lyle 
(Scam zme), Shil-Fi. /-Gun, Terminal Boredom, 
Tales Of Blarg, John Holmstrom (Punk magazine). 
History of skate zines, Punk flyer art, and a dozen 
one-page fanzines 

#3I2/M»> '|r9. Criminal Damage, Never Healed, 
Masomcs, Screaming Females. Germ Attak, Petti- 
coats. Condominium, Passion Killers. Pioggia Nera. 
& the second part of the health issue 

"3 1 i .hi in- '09. Cull Ritual. Acid Reflux. NN. Herds, 
Hunx and His Punx, Grass Widow, Project Hopeless, 
Delect Defect, Tom's Midnight Garden. Exislers and 
scene reports from Sydney and Boston 
#3l4'.luly '09. Libyans, Coke Bust, Strange Boys, 
Turboslut, Vogue. Smart Cops Zyanose. Dennis 
Dread, a History of Squatting in Italy, Tomonto 
Scene Report 

#315/Augusl '09. Zero Boys, Skin Like Iron. Punch. 
The Black and Whites, lnsomnio. Resist. Blank 
IXigs. Etacarinae. Come On, London and Brest scene 

#316/Septembcr '09. Amebix, Born/Dead. Divi- 
sions, Meatlocker, Something Fierce, Mutating 
Meltdown_Aliercado. Anal Wamead, Nick Toczec. 
Cowley Club. Albany Scene Report 

#3 1 7 /October '09. Queer issue with Nasty facts. 
Gary Floyd, Limp Wnsi. Jos Seem' Red, GB Jones, 
Younger Lovers, Vaginal Davis, Josh Ploeg, Tcu 
Pai Ja Sane?, Schwarzer Kanal, Bromance, Extra 
Tongue, and more 

#318/No\ ember '09. Destino Final, Ratas Del 
Vaticano. Hex Dispensers, John Joseph/Cro-Mags. 
Explode Into Colors. Ratos De Porao. Stupids An- 
tidotum/Czosnek Tour Diary. Disco Assault Fuera 
De Linea 

«3I9/I)ecembcr '09. The Fix. Slices, Nodzzz, Bril- 
liant Colors, Positive Noise. Gun Outfit, Pink Rea- 
son, Scrotum Poles, Gandhi s Cookbook. Goner Fest 
Photospread. Punk On Kuollut. ElSkoon Hardcore A 
Personal History of Finnish Hardcore 

#322/March "10. MRR Review Staffs 2009 Top 
Tens, Japanese artist Sugi, Death, Dry-Roy, Druid 

Perfume. Kim Phuc. Defensa Absoluta 

#323/\pril '10. The Spits. Face the Rail. Battletorn. 
Scatha. Dadfag. Attentat Sono re, Partibrejkers. Mob 
Rules. Last Pogo, John Paull Williams from Really 
Red, Chuck Warner 

scene reports 

#275/April '06. History of ABC No Rio (Part One), 
Ringers, Missbrukama. '90s garage punk scumpit, 
Anatomi-71, After the Bombs, Rubella Ballet, RJP 
Pig Champion. Ricky Adam interview and photo- 
graphs, Sean McGhee, Hard Skin US tour diary 

#276/M«y '06. "Is Business Killing Punk Rock''" 
business survey (Part One), History of ABC No Rio 
(Part Two), Vitamin X Asian Pacific tour diary. So- 
viet Valves Suburban Death Machine. Frustrations, 
George Hurchalla. Scene reports Czech Republic 
and Greece 

#277/iune '06. "Is Business Killing Punk Rock 1 " 
business survey (Part Two), Imperial Leather, Boom 
Boom Kid, Vitamin X Asian Pacific Tour (part two), 
"How to Make It Big!" by the Phantom Surfers, 

Magrudergrind, Poland 

#278/Jul% 06. Billy Childish, Death Token, The 
First Step, Ramsey Kanaan of AK Press, Headache 
City. Deconditioned. Under Pressure Insuiciety. 
Instigators, Malaysia Scene. Bay Area Scene Pics 

#279/AuguM '06. Mika Miko. The Fall. Cardiac Ar- 
rest. Digger & the Pussycats, Massmord. Insect War- 
fare. The Astronauts. Canary Islands Photo Spread, 
Four Slicks, The Fallout. PAWNS, Tajikistan, Uz- 
bekistan. & Umea. Sweden scenes. 

tf280/Scptember '06. Hjerte Stop. Grupo Sub-1, 

Desperate Bicycles, Bill Daniel interview and photo 
spread. APF Brigade, Disconvenience. Southkore 
Fesl photo spread, Rosenbombs, Up the Voltage, 
Euro photo spread, Svartenbrandl . Asheville. NC & 
world wide punk scene reports 

#28l/Ortoher 'H6. Out With a Bang. Redd Kross, 
Derek Lyn Plastic, We March, Alan Milman, Rai 
Traps, Blood Robots. Ihe Scarred, Gilbert Switzer. Ja- 
pan & LJS photo spreads. Sweden & UK scene reports 

#282/Novembcr '06. The Feelers, PESD, Toxic 
Ephex, Auktion, Bruise Violet, Trust fanzine. The 
Homosexuals. The Effigies. Rat City Riot, New York 
City & North Carolina scene reports 

#283/Deccmbcr '06. Jay Reatard interview & pho- 
tos. Crimes Against Humanity Records. A Touch of 
Hysteria. Doris Fanzine. Kvoteringen. '90s Punk 
Scumpit Part II, Black Chrome, The Dirty Water 
Club, photos. Tokyo scene report 
#284/.l»nuan 07. Margaret Thrasher. 924 Gil- 
man at 20 Years. Order of the White Rose. Regress. 
Subhumans (UK) Part One, Blank Its. Condenada, 
Genetic Control, photos, Syracuse & San Diego 
scene reports. 

#285/Febry»ry '07. Randy "Biscuit" Turner of 
the Big Boys & Ihe early Texas punk scene, Lem- 
uria, Rum. Subhumans (UK) Part Two, The Blinds, 
Tranzistors. ANS. Riot This, La Piovra. Bay Area 
scene pics, Barcelona, Spain scene report 

«286/M»rch '07. Best of 2O06, Smartut Kahol La- 
van. Electric Kisses. Holy Shit!, Lost Cherrees Pi 
1. Go*, Kraljevo, Serbia, and Bakcrsfield, CA scene 

#287/April '07. Alicja Trout, Keith Rosson (Avow 
zine). Crap Corps. The Vicious. Scum System Kill, 
Lost Cherrees Pt 2, Restless Youth, SBV, Australia, 
Kyiv, Ukraine, and Pittsburgh. PA scene reports 

#288/\lay '07. Clockclcaner, Pisschnst. The Rats 
(Sweden). Conflict (US). The Vilctones. Violent Tu- 
mor. Czech Republic and East Texas scene reports 

#289/.lune '07. Ultimo Resorte, Kursk, Masstrauma, 
Social Circkle. Final Approach, Post Punk Kitchen, 
Southern Death Cull. Portland Drummers, Timisoara, 
Copenhagen, and Pampanga scene reports. 

#290/.lul> '07. Stormcrow, Mefkit, Solid Decline, 
Monster Squad, Sex Vid. Vivisick, Warknme. Top 
Ten, We're Gonna Fight zine, White Cross, Berlin 
scene report 

#291/Aui!iisl *l(7. MRR 25th Anniversary Issue 
Martin Sprouse. Tim Yohannon, No Slogan, Ruidosa 
Inmundicia. Chinese Telephones. Vaseline Children, 
Anti-System, Dave Roche, o-page retrospeclive 
photo-spread, Kawakami/ Disclose obituary, Brazil 
scene report 

#292/Seplember '07. New Bloods, Chronic Seizure, 
Outraged. Geriatric Unit, Aciive Distribution, Gruk, 
The Mods, No Defences, The Fakes, Trashies lour 
Report. Mexico scene report 

#29JAovemhcr '1)7... The Hipshakes, Neverending 
Party, Punk & Immigration article. Finally Punk. 
La Lucha Para La .lusticia en Guatemala, Leftover 
Crack, AOA 

#295/l>ecember '07. Surrender, Whai If Gods Lie'' 
Ihe Crawlers. 2.20, The Joneses, Libertario Maga- 
zine. Bad Samaritans. Shrapnel. Untcmiensch 

#296/Janunr> '08. Hellshock. Mario Panciera. 

Anathema. The System. Eddy Current Suppression 

Ring. The Voids, Cinecyde, Kyklooppien Sukupuul- 

10. Punch In The Face, BSA 

#297/Kebniary '08. Marie Kanger-Bom, Thrill- #324/May '10. Bruce Roehrs memorial., Kleenex/ 

Lilipui. Necro Hippies. Istensmo. RVIVR, lecage. 
Tubers, Rot Shit, Beefeater, Cairo EL. 

#325/Junc '10. X (Australia). Daylight Robbery. Ty 
Segall, Mome. Nil Sensae. Pollution, Th' Inbred. Bad 
Sports. Wankys. Rakosi, Lotus Fucker 

#326Alul> '10. U-ron from Really Red. Slang, Bun- 
ny Skulls. Trash Kit, Sedition. High Castle, Marcel 
Duchamp. Street Eaters, Circle Pit, Meltkago NT, 
Random Conflict, New Orleans and Calgary scene 

#327/August '10. Os Estudantes, The Curse, Pekin- 
ska Patka. Venereans. Thou. Italian Scene Report, 
Ratcharge Zine, and Culo, 

#328AIoektoher '10. Deathrats, The Conversions, 
Agnostic Front, Puffy Areolas. Super Wild Horses. 
Rape Revenge, Bemays Propaganda, New York and 
Czech Republic Scene Report, Ratcharge Zine. and 

#330/.\ovember ' 10. Forgetters. Acephalix, Foreign 
Object*, Hank IV, Pheromoans, U La Vasquez, Cre- 
dentials. Bukkake Boys, Negative Lifestyle, Tyranna, 
Kairiina Etholcn. Ireland Scene Report 

#33l/Decembcr '10. Kylma Sola, Articles of Faith, 
Total Abuse. La Merma, Dofla Maldad. Frankie Rose 
and the Outs, Little League. Versificator, Frankfurt 
Germany Scene Report, Belgium Scene Report. 

#333/Fehruary 'II. The Welders. Touch & Go Fan- 
zine, Rai Ko Ris, Dolly Mixture, Hitman, Straight 
Arrows, Eskapo Philippines Tour Diary, Venezuela 
Scene Report, Olympia Scene Report wAVeird TV, 
White Boss, Milk Music, HPP, Hysterics, Son Skull. 
Rvivr, Hail Seizures. Broken Water, Gun Outfit 

#334/\larch 'II. 2010 Year End Top Tens, A Stale of 
Mind, Useless Children, Straight Arrows, Sober Liv- 
ing for the Revolution, DC Scene Report 

#335/\pril 'II. Crazy Spirit, Siege 1981, Mauser. 
Devour. Icon Gallery, Sunshine SS, Timmy's Or- 
ganism. Whitney House, Attention Span. Michigan 
Scene Report 

#336/Ma> 'II KriegshOg. Steve Ignorant. Teargas. 
Tantrum, I iygeine, Shoppers, Chris Walter, Adrena- 
lin OD. Spastic Panthers, Hungarian Scene Report 

#337/June 'II. Destroy All Movies. John Morton/ 
Electric Eels. White Fence. Ydinperhe, Nux Vomica. 
Vanya Bonecrusher, Black Feet, Uzi Rash, This is LA 
not LA. '80s Hardcore Flyers in New Orleans, Buf- 
falo NY Scene Report 

#339/Aujr,w*t 'II. Head Cleaners. Midmte Snaxxx, 
Cokskar. Small Bones, Xcentric Noise Records, 
Grown tips. Youth Avoiders, Tomek Lipinski/ 
Brygada Kryzys, Afternoon Gentlemen. Czech Punk 
History pi 2 

#340/September 'II. Demokhratia, GG King, Ivan 
Brun, B-Lines, Slate Poison, Jeremy Hush, Love Tri- 
angle. Unlearn, Deaf Club Oral History. Final part of 
ihe Czech Punk History 

#34UOctnber '11. Brian Walsby, Plates, Decraneo, 
Diet Cokeheads, Royal Headache, Ed Nasty & the 
Dopeds, Black Mamba Beat Tour of South Africa. 
Unfit Scum. Mongrel Zine 

#342/lWembcr 'II. Kyushu Noisecore Summit, 
Brown Sugar. Vapid. No Rest. Brain Killer, Roach 
Motel, Brain F, 1FB, Nekromantiker, Aires & Graces. 

B343/I>cccmber 'II. Porkena, Descarados, Peace 
or Annihilation. EATER, Poly Styrene, Sever- 
ence Package, Katorga Works. Unwanted Christmas 
Presents, Resisi Her Transistor Motel, Brain F, IFB. 

Nekri'mantiker, Aires &. Graces. 

#344/.l«nu»ry '12. OBN Ills. Social Chaos. Neo 
Cons. Alice Bag, Vagmors, Bloodkrow Butcher, 
Wartom. Shitty Limits Last Show Report, Wretched. 
Zero Progress Tour Diary Part 1, Means to an End 
Fest Slick 46. Toughskins, No Gods No Matress 

#345/Kebuary "12. 2011 Year End Top Tens. Big 
Eyes, Terrible Feelings. Zero Progress Tour Report 

pt 2, The Unruled, Rapid Loss 

#346/\lareh '12. Barchcn Und Die Milchbubies, 
Who Killed Spikey Jacket, Kromosom tour of Japan. 
Glohstcrs. Night Birds. Tribal War, Give Praise, Re- 
fuse records. 

#347/April '12. Ron Paul Special Issue, Carburetor 
Dung. Dark Times, Neon Piss, Kruel. Lapinpollha- 
jat. Criminal Code. Slice Harvester zine. Iron Hand, 
Indigesti. Damnable Excite Zombies, Hawaii Scene 

#348/\1a_i '12. Seem' Red, Disorder, Lebakko. Da 
ys Wax Idols, Arutmob, Leprosy. Acid Baby Jesus. 
Crimson Scarlet, Nasa Space Universe, Apache 
Dropout, Konlon Crasher, Negazione. Defy 


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Send letters to MRR, TO Box 460760, San Francisco, CA 94146-0760, 
or to ITo response guaranteed. 

Dear Sir/Madam— 

Hello there, my name is Malcolm 
"Scruff' Lewty. and I front the band 
Hellbastard. Years and years ago my brother (RIP) 
"Big Toot" used to write and contribute for MRR, 
those were the days before the internet, etc... Please 
don't take this email as a personal assault on the 
magazine as a whole. I aim to have a discussion with 
one of your reviewers as he has me more than a little 

I have just seen a review (Panzer Bastard - "Gods, 
Thugs & Madmen" 10") from the latest issue of MRR. 
I am a regular buyer of your magazine and thoroughly 
enjoy it— always have done since the first couple of 
issues. The band being reviewed is Panzer Bastard: 
yet in the review the reviewer ("AU") states: 
"...typically a band that the disgraced corpse of 
HELLBASTARD would take on tour with them..." 

Please could you forward this letter to that 
reviewer and ask him/her to have the decency to 
reply to me about this. I usually don't give a fuck 
about such things, but reading that (especially reading 
that comment whilst the review isn't even about 
Hellbastard) is a fucking joke. 
To "AU" (?):' 

What is your problem Mister AU? Why the cheap shot 
at my band? Is it because we don't conform to your 
fucking bland mediocre idea of "hardcore crust?" Are 
you so blind and ignorant in your DIY mind that you 
think you can get away with that kind of insouciance? 
Listen up AU, music is a vast massive avenue of a 
lot of things. Hellbastard have been making a noise 
since 1984—1 have been making a noise a lot longer 
than that and I formed Hellbastard. Please have the 
courage to get back to me and tell me why you think 
that Hellbastard is a "disgraced" band? Who has 
"disgraced" us and why in the fucking hell we are 
"disgraced" anyway?. How old are you AU? How 
many bands have you gotten off the ground? How 
many records. CDs and demos have you released 
with your bands? Have any of those bands been 
"disgraced"— I bet you listen to a load of noisy bands 
that talk-the-talk and never walk the walk. You sound 
like a poseur. 
-Scruff Lewty / Hellbastard. UK 

Mr. Lewty— 

My name (as easily accessed by the index of 
reviewers at the top of the reviews section) is Andrew 
Underwood, and I wrote the review in question. You 
ask a lot of questions in your letter, and I'm afraid I 
won 't be able to answer them all in this space, so I will 
endeavor to cover the central point. 

Buddy, all I did to get a job reviewing recdrds for 
MRR was to get recommended and submit a writing 
sample. Doesn't matter wliat bands I've been in, how 
many tours I've been on whatever. They liked how I 

wrote about music and I've been here for a couple of 
years doing just that. I'm sorry I hurt your feelings by 
taking what you feel was a cheap shot at your band, 
but I thought it was germane at the time and I still 
do. Let me preface this by saying that I am honestly a 
fan of the early Hellbastard stuff. Everything through 
Heading for Internal Darkness is aces by me. This new 
iteration of your band, which as you know consists of 
yourself and no other original metfibers lias not only 
not made music that lives up to that legacy (to my 
mind), but actually detracts from it. 

I have no doubt that you stand behind the new 
material. I personally detest it, hence my reference 
to "the disgraced corpse of HELLBASTARD ." I think 
that if you wanted to make new music you ought to 
have started a new band with a new name and not 
tried to attach this new and very different (atui 
frankly, godawful nu-metal-sounding) music to the 
discography of your very old and very dead band. 

So there we go. I am totally a nobody, save the fact 
that I write for MRR, and I referenced your band in 
the context of another band 's review because I thought 
the band I was reviewing was shitty and I thought it 
was relevant that your shitty band toured with them. 
Hope that clears things up. 
Take care, 

Dear MRR- 

Just got issue #346 and as I was reading 
it I had to check the cover four times to 
make sure it wasn't the April edition. 
Time # 1: Madam's review of White Riot is so 
scathing that I looked up the book to order online so 
I could buy it and hate it too, but then I didn't do it. 
Time # 2: Larry Livermore's interview of the Night 
Birds. Larry Livermore is the guy that would say, 
"MRR is still around?" Great interview but I thought 
he swore all that angst off a long time ago. 
Time # 3: MRR reviewed five Lag Wagon records in 
one issue: 

A. Some of the reviews were good. 

B. I'm pretty sure that you missed the three best 
records, Mustache Rides=I0 Tickets, Miles to Burger " 
and Does This Smell Like Chocolate? 

Time # 4: Your back cover photo has none of the info 

that you requested that anyone submitting photos is 

asked to submit. 

Thanks for another really great issue. Now I'm 

prepared for April. 

—Tony Party 

Hey Tony— 

Glad you are digging the mag! To answer your 


#1: That book is a bummer. Start with Evolution 

of a Race Riot by Mimi Nguyen, Outpunk and the 

Crudos interview in MRR. Or buy the book at a used 

bookstore. Don't give those chumps any more money, 

they ripped off enough people, don 't let them rip you 

off too... 

#2: The word "clown" comes to mind. 

#3: We review everything that is reviewable when we 

get it. We got five Lag Wagon records, so we reviewed 

'em. What can I say. . . 

#4: All the front and back cover information is always 

located on page two to the left of the top tens. Thus it 

has always been and thus it shall always be. 


Hello Mariam— 

I am Esteban editor of the fanzine 
Beneficio Interno, from San Jose, Costa 
Rica. I read your review of my zine. I really liked it 
and thanks for so much detail ! I just want to clarify 
two things— the price is $2. Now that I saw the review 
I realize I forgot to put that information somewhere! 
Anyway. I always prefer trades to selling the zine. I'm 
happier checking out things from other places... I'm 
glad.that you liked what you read and saw. I will send 
new editions. 

Apart from the fanzine, I run a small DIY label, 
and with the help of the internet we now do a radio 
show called Subsuelo SA. You can find two hours 
of good music here: www.beneficiointerno.blogspot. 

A pleasure and thanks again! 
—Esteban Campos 

Dear MRR- 

Last issue we reviewed a zine called 

Cheap Toys and there was no contact 

info, here it is! Cheap Toys CO. Thomas Ledru / 

19 montee du caroubier / 06240 beausoleil, France / 

Thanks ! 

Dear MRR - 

I've got the latest issue with Carburetor 
Dung on the cover. In the letters 
section, there is some criticism of Mykel Board. I 
first began reading MRR in 1995 when I was sixteen. 
I've been off and on since then. I have no problems 
with homosexuality.. .it's the other sexual taboo's that 
Mykel's column explores that is off putting. And he is 
still there after all these years. 

I could only be more disappointed if Nick Fitt 
(1996-1997 or so) was still writing his whiny rich kid 
nonsense. I understand that punk is kind of like an 
open mic, but whatever. It's like he couldn't offend 
the average punk talking about his gay sex life, so he 
has to take his shtick a little further. 

Sincerely, Mykel Board: Fuck Off. You are the 
sole reason I only read MRR intermittently. You 
should write for Vice or something. Artless Sucks. 
—Pizza Boxes 


Hey MRR- 

My tape (Easy Tiger) was reviewed 
in the demo section of the May 2012 
issue. Thanks to Robert for taking the time and MRR 
for printing the review. The contact email in the 
review is off. Any interested parties can contact Jack: Thanks and keep up the 
good work. 
—Jack in Iowa City 

Dear MRR- 

Last month I wrote about how 
Oklahomastan politics was worsening, 
[see the News section in MRR May 2012 #348] I 
think I underestimated this state when surmising 
just how bad it could get. The Oklahoma House of 
Representatives passed the "Personhood Act." they 
have rewritten the House Joint Resolution 1087— 
the one making contraception illegal— to muddle 
the wording to make it more palatable for voters on 
the November ballot, and a bill "giving the choice" 
to women seeking an abortion to "hear the baby's 
heartbeat" has been introduced to the state Senate. 
Fuck. All, Of. This. 

These people aren't stupid; to say that would be 
letting them off far too easily. These people— these 
senators and congressfolk— are fucking evil. They're 
evil, they know it, they embrace it, and then they 
have their way with us by making legislation that not 
only burns that silly piece of parchment called the 
Constitution down, but strips all of us of our natural 
rights as individuals. Speaking only for myself here: 
what's sad is that I should have seen this coming. 
I listen to punk rock and read Noam Chomsky and 
Howard Zinn, why the fuck is this surprising to me? 

I think the fundamental flaw here is assuming 
that when it pertains to us normal folk down here on 
the bottom, the people we elected will act with level 
heads. Obviously that's not the damn case, obviously 
they only ever act in their own self-interests or the 
interests of the people who pay them the most money, 
but godfuckingdammit, I would like just one day to be 
affirmed in my stance that people are essentially good, 
rational individuals. 

I know that Oklahomastan is nothing special. 
The war on women is national in scope, and it's 
obviously connected to the larger class struggle. But 
it still affects me majorly when I talk to my friend 
who I helped start the Oklahomans Against the 
Personhood Act campaign with, and she's basically in 
tears because she's not only watching her rights torn 
away, she's seeing for the first time how much shit the 
system is full of —and violently. 

How the fuck can this nation justify putting itself 
on a higher moral ground than the countries in the 
Middle East that it vilifies? How the fuck are we 
any better than Assad's Syria or the dreaded Iranian 
Theocracy? How can these bilge rats justify passing 
legislation that at tlie bare fucking minimum doesn't 
follow science? Why is any male making legislative 
decisions that adversely affect genitalia he doesn't 

These are questions I want the answers to. I know 
I'm not going to get them, but if I have to spend my 
entire life as a journalist trying to find them, then so 
fucking be it. 

Dutifully staying in this shitstain of a state for you, 
—Trevor Hultner 

Dear MRR - 

We had been silent. We had hoped that 

the organizations that are attempting to 

co-opt and dilute the Occupy Wall Street movement 
would stop. The Occupy movements across the 
country are fighting for better lives of the 99% of 
Americans who work for a living. We had hoped that 
these interlopers would recognize that what they are 
doing is wrong. 

But they have not done the right thing. Now it's time 
to speak out and fight back. 

A Democratic Party-affiliated organization,, is actively attempting to hijack the 
Occupy Wall Street movement. This brazen co- 
option attempt began by mimicking the Occupy 
movement's terminology and rhetoric, not to embrace 
it, but to channel our movement's energies toward 
backing Democratic candidates and policies. MoveOn 
says: "MoveOn stands in solidarity with the brave 
protesters at Occupy Wall Street, but we're not 
Occupy Wall Street and we're not trying to become 
Occupy Wall Street." If that's true, why are they 
posting articles with titles like "Which Corporations 
Occupy Congress?" and sponsoring events with titles 
like "We Are The 99%?" This is "Astroturfing"* at its 
worst. MoveOn is creating confusion on purpose. 

Ground Zero in MoveOn's takeover attempt of 
Occupy is focused on the eastern end of Long Island in 
New York. Occupy the East End represents the OWS 
movement in the Hamptons and Shelter Island, which 
happen to be the most popular summer playground for 
the 1%. 

Its most recent attempt to co-opt our movement is 
by scheduling a "99% Spring Training" by a MoveOn 
front group called "99% Spring" on April 15, 2012 
at the same location and time where Occupy the East 
End has been holding its General Assemblies since the 
group formed in October of 2011. Occupy the East 
End delivered an unprecedented unanimous block— 
every OEE member at the GA issued a personal 
block— to a MoveOn representative who "asked" 
OEE to participate— after MoveOn had scheduled the 
event. The MoveOn rep refused to change the date or 
time and informed OEE that "you will be taken over 
[by MoveOn] whether you like it or not." 

We cannot be bought! We will not be co-opted! is a political lobbying organization 
that routinely backs Democratic candidates and was 
originally funded by the billionaire George Soros. is considered the "lead lobbying group" 
for Obama's reelection campaign, and has overt ties to 
various Wall Street entities. 

Occupy the East End is in no way affiliated with, nor does it wish to become so. The 
attempt to take over OEE is a hostile takeover attempt 
to capitalize on the Occupy movement as a whole. 
Occupy Wall Street and Occupy the East End as a 
movement rejects the political system as a broken 
structure that needs to be overhauled from the bottom 

*Astroturfing: The creation of lobbying groups 
that appear to be separate from corporate interests, 
but that are actually funded by them. As opposed to 
"grassroots" political activism. 
-Ted Rail 

Dear (JH) of Maximum Rocknroll— 
I don't know who the fuck you think 
you are. If you have ever listened to a 
45 why would you even think of playing it on 33(?) 
rpm? Geez. What a mind fuck that is. I know it is 
probably too challenging a concept for a cretinistic 
asswad such as yourself, but my eponymous debut 45 
is not called the Die EP. What kind of stupid fucking 
name for an album would that be? My bass lines are 

not bouncy, they rule hard. If you haven't heard. I am 
a child prodigy. I am not an ape. nor am I a mongoloid, 
you douche bag... unless your girlfriend is into that. 
While we are on the subject of things you are informed 
on, where might I find one of these "mega reverbed/ 
distort/shit machines?" About how much $$ do they 
run for? My drums is playing on trash cans, good call . 
Fuck you. Love, 
— Carcinogenz 

PS Please run my flyers in your big time magazine, 

Hey Carcinogenz— 

The MRR style sheet dictates that EPs without a title 

are categorized by the first song on the record. This is 

to ensure we do not create duplicate self titled records 

for any one band. The review you have issue with is 

below for the readers to reference. 



Jeez, what a mindfuck this is. Starting off at 33 
RPM. it sounded strange; only after a few songs on 
45 did 1 realize that's how it's meant to be played 
(on a side note, this is one of those records— like the 
first VENOM single— that is fun to spin at 33 RPM at 
least once for maximum brutality). This whole record 
sounds like it's filtered through a mega reverb/distort/ 
shit machine, so while there 's bouncy bass lines and a 
slightly garage delivery, it still sounds majorly fucked 
up. like an ape beating trash cans behind a bunch of 
screaming mongoloids (which, if you've ever been to 
a punk show in Baker sfield, California, where these 
guys are from, isn't really too far from the truth). 
Recommended for demented souls. (JH) 
(Going Underground) 


TttS&rt £ G 

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OAKLAND CA 9462 3 

A Middle- Aged Threat? 

Damn, has it really been 30 years since I became 
an adult? Well, kind of an adult? I graduated from 
college in the spring of 1982 and that was also the 
time I started my lifelong involvement in Tlie Scene, 
whatever the hell that means. In recent years, I've 
liked to joke I studied "predatory capitalism," 
but it was actually business administration with 
a major in marketing. Same shit, I suppose. That 
made me eligible to follow one of two paths — 
advertising or retail management. I couldn't see 
myself as an ad executive since I hadn't quite 
perfected the skill of bullshitting. So it was retail 
and I started working as a management trainee at 
a discount department store chain called Zayre. I 
actually interviewed for different marketing-type 
positions but that was the only job offer I got, even 
though I was a summa cum laude grad. Good 
grades but I had no interpersonal skills. Despite 
my grades, I only got two second interviews, one 
with a retail chain in the DC area called Hechf s 
and the other with Zayre. 

Even though I didn't get the job with Hechf s, 
I still got a free trip to DC... the company sprang 
for airfare, hotel and food for me and some other 
people from my area that also were having second 

The interview was in Tyson's Corner, VA, 
about ten miles from DC. We toured around 
the headquarters and the store there but I don't 
remember many details except the interview. And 
it sounds awful (and sexist), but I was interviewed 
by an attractive young woman and I was spending 
more time checking her out more than answering 
her questions in any coherent manner. 

So I didn't get the job but it was a sweet trip 
nonetheless. Before flying back to Boston, I had a 
little time to kill, so I stored my bag in a locker at 
the airport and went to Georgetown for a while. I 
got a nifty studded wrist band, which I still have, I 
also went to a record store and got the first MINOR 
EP. I still have those, as well. So the trip wasn't a 
total loss. Besides, I didn't really want to relocate 
down there, even with the killer harDCore scene. 

I wrote about working at Zayre around 2008, 

but, to briefly recap, it lasted about five months 
and during that time I discovered I was basically 
going to become a glorified shit-worker, since 
my duties included cleaning up the Strawberry 
Shortcake merchandise that the hellacious brats 
would leave on the toy department floor or 
hauling around heavy cases of motor oil in the 
automotive department. On the plus side, I did 
discover that the tape I made of DISCHARGE'S 
Hear Nothing and Wliy 12"s was the perfect length 
for my commute home from the store where I 
first trained and I practically wore it out over the 
course of that summer. The ritual was leave the 
store, take off tie, open the shirt, roll down the 
window and fucking blast it as I drove down Rt. 
128, the highway immortalized on the MODERN 
LOVERS' "Roadrunner." The high point of the 

Speaking of tapes, that spring, before 
graduating, I'd just bought a Sony Walkman 
and had the BAD BRAINS' ROIR cassette, 
Iron Maiden's Killers and The Police's Ghost In 
Vie Machine in fairly regular rotation. Damn, 
compared to my iPod, I can't believe how clunky 
it was. Sony finally stopped making them a few 
years ago and it was only being manufactured in 
Japan by then. I'll still stand by Killers and, despite 
their bass-player Steve Harris's complete disdain 
for all things punk, Maiden's original vocalist 
Paul DiAnno certainly had a punk look. Maybe 
thaf s why he got bounced. As for the Police 
album, I eventually taped ZOUNDS's The Curse of 
Zounds over it. No regrets there although I can still 
hang with the first two Police albums to this day. 
I suppose I can't write any more since both bands 
were on evil major labels. These days, when I plug 
the headphones into my iPod and play the Brains 
or even the Maiden album, I close my eyes and 
wonder if I can somehow be transported back to 
1982 and get a second shot, fixing where I fucked 
up and, more importantly, picking up all those 
records I missed out on and, in some cases, would 
have to take out a second mortgage to afford 
now 1 — fuck, I know I should have bought those 
two MISFITS singles marked down to $1.50 apiece 
at New England Music City in Kenmore Square. 

So why this 1982 time capsule? I'll be honest — I 
just want an excuse to write about seeing MINOR 
THREAT for the first time, which happened 30 
years ago this month, on June 12, 1982 at the Gallery 
East in Boston. Thafs the legendary hardcore 
venue that I've mentioned a million times, also 
well-represented in the xxx All Ages xxx Boston 
hardcore documentary which will finally have 
premiered by the time you read this. How they 
played second out of four bands because the show 

organizers wanted to make sure they played in 
case it got shut down — which didn't happen. The 
other bands on the bill were the PROLETARIAT, 
SS DECONTROL and the FU'S. It was the first 
show I saw there (one of only three) and boy did I 
feel like an outsider. The scene movers 'n shakers 
weren't the most-welcoming bunch, that's for 
sure, although that did change to an extent once 
I got the 'zine going later that summer. I'd seen 
a few hardcore shows at clubs over the previous 
year, including a mind-blowing, all-hardcore BAD 
BRAINS set the month before that ranks as one of 
the greatest performances I've ever seen in my life. 
No hyperbole — if s the fucking truth. But this was 
the first purely DIY show and it felt different. It 
was both exhilarating and scary. I stayed the hell 
away from the pit. Just watching the bands play 
was enough excitement. I can still see Jeff Nelson 
flailing away on his drum-kit with incredible 
precision and Ian darting around the stage like 
a manic dervish, people crowded around him 
singing out the words. This was the shitl That 
pause in "In My Eyes" where Ian yells "DID 
YOU FUCKING GET IT?!" remains one of the 
most exciting moments in the history of hardcore. 
When Ellen was living next door to some noisy 
neighbors in one of her Boston apartments and 
they were playing horrible music, I put her stereo 
speaker in the window and let it rip! Ellen's not a 
big hardcore fan, but I'm pretty sure she approved 
of my actions since the neighbors were definitely 
getting on our nerves. 

Here's the thing... I still feel this shit. Some of 
the lyrics in those songs seem corny as hell from 
the perspective of a middle-aged man and the 
youthful idealism has long since passed. What I 
mean by feeling it is it makes me remember when 
I heard this music for the first time and how it 
made a direct and immediate connection. Not so 
much that I'm going to dismiss all current punk 
and hardcore but thafs the root, the original spark 
and having those memories somehow makes it 
easier to cope with what I'm dealing with in the 
present time. It keeps me going. I hope that makes 

... More Threatening (?) Sounds... 
The CHROME CRANKS have reconvened for 
the first time since the late '90s and they're back 
in righteously rocking form for their new album 
No Life In Blood. Though initially from Cincinnati, 
a few of the members moved to NYC in the early 
'90s and hooked up with Bob Bert and Jerry Teel, 
who toiled in such bands as SONIC YOUTH, 
PUSSY GALORE and BOSS HOG. The latter two 
followed a down 'n dirty bluesy punk oeuvre 


and thaf s what you'll find here, along with some 
BIRTHDAY PARTY strut, most noticeably on 
"Rubber Rat." There's some fiery straight-ahead, 
stompin' rock with "I'm Trash," "Living/ Dead," 
"Broken Hearted King" and "Black Garage Door" 
(originally by Cincy band the LIBERTINES) and 
those are the songs I keep coming back to. "Broken 
Hearted King" has some nasty slide guitar action. 
There are two other cover versions, including a 
ten minute take on the BYRDS' "Lover Of The 
Bayou," thaf s quite a bit more energized than 
the original but does go on for too long and a few 
other songs drag, as well. All in all, though, this 
is a fairly impressive return. (Thick Syrup, www. 

On their Regi Mentle Rides Again 7" EP, ROGUE 
NATIONS take a break from their politically- 
oriented 'lyrics to write music that accompanies 
lyrics written by, you guessed it, a guy named 
Regi Mentle. To provide a brief synopsis/ 
encapsulation, Regi was a mainstay of the early 
LA. punk scene, part of the GERMS' "inner circle." 
I remember reading his contributions to Flipside 
in the '80s and they were always provocative. He 
was convicted of killing a man in the early '80s 
(most likely in self-defense), given a sixteen years- 
to-life sentence and is coming up for parole. This 
record's proceeds will go towards his legal defense 
fund. The musical contents are a successful take 
on classic west coast punk, especially the GERMS, 
as you'd probably expect, although Chris Peigler's 
vocals are in a higher timbre than Darby's snarly 
style. The lyrics have a dark, twisted nature, some 
of it autobiographical, especially for "Parole 
Board." This is the NATIONS' sharpest-sounding 
music to date. (Suicide Watch, www.myspace. 
com/ theroguenations) 

Next are a few recent releases from Black Water. 
There's a certain sound emerging from Portland 
besides the power-driven hardcore /thrash style 
that the city is well known for. The PDX Vol.2 7" 
compilation showcases four like-minded bands, 
each of them having an affinity for something 
gothic or, perhaps more accurately, some of the 
early '80s UK doom 'n gloomers. A melodic, 
melancholic pulse from the participants, including 
the superb ARCTIC FLOWERS. An earlier version 
of one of their best songs, "Crusaders + Banshees," 
leads things off with a punchy, melodic sound and 
that also comes out on the FUNERAL PARADE 
track. Speaking of Banshees, MORAL HEX 
certainly borrow from early music by that band 
(as in SIOUXSIE and...). Meanwhile, with the 
synth lines, BELLICOSE MINDS take a page from 
NEW ORDER. Not happy-sounding music by 
any stretch, but the punk undertones prevent the 
songs from sinking into a murky abyss. 

Since I brought up the loud /fast PDX bands, 
ROTTEN CADAVER'S High Jacked Reality 12" has 
finally been unleashed after ridiculous delays. 
This album was actually recorded in 2007. 
Blistering, loud 'n fast hardcore/crust by this 
wrecking unit. Fast picked-guitar relying more 
on tension and fray^ than pure powerchords, 
thumpa-thumpa drums, nimble bass-lines and 
hellacious, throat-ripping vocals. The lyrics don't 
really follow a verse /chorus /verse pattern but 
are brief exclamations of, to quote two of the 
titles, "Our Rage" and "Disillusion." The band's 

name insinuates something ugly and you get your 
money's worth on that account — and it commands 
your attention. 

One more Black Water release is from SISTA 
KRIGET. Their S Track Horror 7" is pretty much 
letter-perfect DISCHARGE-influenced Swedish 
hardcore and damn if they aren't quite proficient 
at it. The membership is actually from both 
Sweden and Australia and includes members of 
FY FAN and PISSCHRIST, so that should tell you 
right there that if s going to be some quality music. 
Everything you'd want — just a pummeling, raw 
(though not noisily-distorted) sound, harsh vocals 
and relatively catchy. Well, as catchy as this sound 
gets i.e. it's not just a wall of noise. Recorded in 
2009 and this is a reissue. (Black Water, PO Box 
5223, Portland, OR 97208, www.blackwaterpdx. 

Speaking of Swedish bands, there's a split 12" 
by UNCURBED and WARVICTIMS that was also 
recorded in 2009 and if s given a US pressing on 
Sacred Plague. The front cover is a reinterpretation 
(I guess) of the GERMS' circle logo, with a bomb 
fuse on the upper right and doves flying out of 
the lower left. These two veteran bands continue 
to ply the same sort of full-bore hardcore they've 
been at for years. In UNCURBED's case, ifs 
about two decades and this might be their swan- 
song. There's a running theme for UNCURBED's 
songs, depicting the harsh, cruel realities of life 
for the less-privileged, brought on by everything 
from homelessness to imprisonment to personal 
demons. WARVICTIMS follow the world on the 
brink of destruction route in their ruminations. 
Both bands have the thick, heavy sound and 
guttural vocals, although UNCURBED's guitar 
tone is a shade lower. (Sacred Plague, 4919 NE 
33rd Ave, Portland, OR 972 11, www.sacredplague. 

Al Quint, PO Box 43, Peabody, MA 
01960,, www. 

Continued from last month 

"Lars thinks he's a big punk rock star," I tell 
the Golden Globe nominee, "but lemme tell ya, 
I'm a bigger star. I got a column in Maximum 
Rocknroll and a segment of my show, called 
Destroy Television, is on a show called Punk 
Uprisings, on the E! Entertainment Network." 
Suddenly her ears prick up. "You are on E!?" she 
asks me? I tell her yes, I am — and that I am punk 
rock — and that I live in fucking New York. That 
I have a black leather jacket with US pins on it, 
big sneakers, and all. "You go," replies Mike. "I 
like the E! Entertainment channel," explains the 
Golden Globe nominee. As she talks, I look at her, 
and think that yes, she does look like the girl from 

Friends — the girl who was supposed to be in love 
with the Jewish guy, but didn't tell him in time. 
And now his girlfriend is some Asian girl. But 
he dumped her for her, but she got mad cause he 
made a list, so now they are kinda not on speaking 

"I get the E! Entertainment channel on my 
small hand held television" says Mike TV, "and I 
also get like twenty other channels," he adds. Uh 
huh. "You go," reply Mike and Renee. 

This conversation goes on for a while, with the 
Golden Globe nominee and Mike TV, but finally 
Mike Blank and Renee get thirsty for more booze 
and say, "we go." And they leave. So now it is 
just me, the Golden Globe nominee, and Mike TV, 
who is now showing me that he has put a Furious 
George sticker on his small hand held television. 
He says, "Look, I put a Curious George sticker on 
my small hand held TV. It is great. I like to watch 
television. Did you know this thing gets like thirty 
channels?" Uh huh. 

As I am having this idiot 'conversation, some 
other girl walks in. She is pretty, as well, and looks 
familiar. . .sort of. The Golden Globe nominee hugs 
the new girl and they both do that girl thing where 
they squeal cause they are so happy to see one 
another. Then the Golden Globe nominee explains 
to the new girl that I am on the E! Entertainment 
Network. I tell them, hey ifs no big deal, I'm punk 
rock, so fuck everyone. Both girls seem amused. I 
then give the new girl a Furious George sticker, 
and she says it is really cute. I explain that the 
monkey is me, and that can't she tell by the leather 
jacket on the monkey with the US pins? She looks 
at my leather jacket with the US pins, and says 
she can't tell it is me, but that she is impressed 
that I am on E!. I tell her, "Look, babe, it is paid 
advertising, and anybody could be on, and who 
cares. I'm punk rock." 

She tells me that I am cute, and if I were to 
clean up my act a little, and behave myself, and 
not be such a "bad boy," I might have a chance 
on being a big star. "I get lots of big stars on my 
handheld television," explains Mike TV "Look, 
right here is Quincy. Jack Klugman. A big star, on 
my small hand held television." "You go," I reply 
to Mike TV, cause Mike and Renee Blank aren't 
around. "Huh?" says the new girl. I say, "You 
go," again. She asks what the means, and I tell her 
never mind. 

Anyway, we get more and more into this 
stupid conversation on how I could be a star if 
I was just a bit less "punk rock." She says that 
I should act polite and nice, and then when I'm 
a big star, I could be as "punk rock" as I wanna 
be. I explain to her that I am "punk rock" now, 
and happy with that fact. And that I'm not gonna 
calm down for anyone. She tells me that I have 
a good chance of becoming big because 1 am on 
the E! Entertainment Channel. "Did I tell you I get 
the E! Entertainment Channel on my hand held 
television with the Curious George sticker on it? 
And also forty other channels?" says Mike TV. I 
tell him to shut up. He looks confused. 

Finally I am tired of arguing with the girl and 
the Golden Globe nominee. I tell them that is was 
nice meeting them, and see ya around. "Take my 
advice," says the pretty girl. "Why should I take 
your advice?" I ask the pretty girl. "Cause I'm 


someone famous, and I know what I am talking 
about." I say bullshit, but if she is someone 
famous, then sign the back of a Furious George 
sticker. She does. I don't recognize the name at the 
time. But later I do. It was Liv Tyler. Steven Tyler 
from Aerosmith's daughter, ya know, the actress 
and model. Big whoop. Anyway, I tell them once 
more that it was "interesting" talking to them, and 
good luck with the Golden Globe and all. That 
I'll watch her on TV "TV?" says Mike TV, "did I 
tell you that I have a hand held..." but I leave the 

The next few days before Christmas are more 
of the same — drunken nights, and hung over days. 
Actually, one night, a few days before Christmas, I 
was hanging out in my living room, the sidewalk 
in front of CBGB, having a refreshing Zima, when 
some friends approached me and asked if I wanted 
to smoke some weed. Now, I gotta tell ya, I don't 
really smoke pot anymore. It makes me trip and 
go crazy. I'll explain why some other time, but 
anyway, I really don't smoke the stuff. But this 
night, well, being in the holiday spirit, I figured, 
why the hell not. So they passed me the pipe, and 
I took a hit. Suddenly I felt the taste of gasoline 
rush down my throat and into my lungs. I cough 
the shit up and yell, "What the fuck is this?" It 
didn't taste how I remember pot tasting. "Sorry 
George," explains one of the guys, "I thought you 
knew, we're smoking crack." "Bleeeech!" I scream. 
Suddenly I feel my heart begin to race really quick 
and I start to get really high. I mean, really high. I 
feel all-powerful and all-knowing. I also feel like 
my heart is about to burst outta my chest, out on 
to the living room floor, where it will then run 
across the street to the bodega, and pick me up 
a six pack. Of course it will get me a dark beer, 
which I hate, and then I'll be mad at my heart. I 
curse it out, and tell it that it should have been 
squished under a car tire or something. My heart 
will then feel bad, and kinda walk away all upset 
and everything. I'll feel sorry for it, and beg it to 
come back. But it won't. Then I'll be all upset and 
have to go get drunk and stuff. 

"George," says the King of Punk Rock, 
suddenly. I look up at Hilly Kristal, the owner 
of CBGB is staring at me. "Yes, Oh mighty King 
of Punk Rock," I say to Hilly. "Did you put that 
Curious George sticker on my awning?" I tell 
Hilly it is Furious George. "Nevermind that, did 
you do it?" I look up at the famous CBGB awning 
and see a Furious George sticker. Now, seeing as I 
was so high, I knew it would be really hard to lie. 
"Yes, King of Punk Rock, I can not tell a lie. I did 
do it." "George," says the King of Punk Rock, "I 
don't have that thing up so you can advertise on 
it. It is for CBGB. It is sacred. Now take off that 
sticker." Now seeing that I'm all cracked up and 
stuff, I mouth off to Hilly. "Listen, buddy, Furious 
George can kick the ass of CBGB any day of the 
week, but if ya want me to take the fucking sticker 
off the fucking awning, get me a fucking ladder. 
You fucking King of fucking Punk Rock." Hilly 
looks at me funny. "Are you high?" he asks me. 
"I smoked some fucking crack, so fucking what, 
King of Punk Rock." Hilly tells me he'll talk to me 
some other time. Looking back on it, I'm glad he 

didn't kick Furious George's ass. 


So, Christmas night finally rolls around, and 
I am the one putting on the benefit for AIDS. So 
it is my job, to make sure all the bands go on on 
time ahd stuff. Slated for that evening were me, of 
course, S.F.A., Bugout Society, STOP, the Stallions, 
Fastlane, Sister's Grim, Endangered Feces, and 
Chicken John formally of the band that can not 
be mentioned. Of course everyone wants to go 
on at the prime slot, and of course no one is on 
time arriving at the club, so of course I do the 
responsible thing and drink like crazy. Somehow 
things seem to start relatively on time — only an 
hour or so late. 

The first band on, the Stallions, rock. They have 
these two Japanese girls who play guitars and, oh 
my god, wow. Whatever I have said about female 
guitarists in the past... ignore me. They must have 
penises. Second up was Fastlane. His guitarist 
wound up taking my guitarist's guitar before we 
played. Schmuck. Then Endangered Feces. They 
were real fun, and the only band I ever saw that 
had their own giant "Applause" light. They also 
covered "I am Gilligan," a song written by me. 
So they get points for that. In fact, that night, I 
had made a tape compilation to play in the club 
over and over. On one side was a bunch of bands 
covering "I am Gilligan," and on the other, that 
Christmas album with all the dogs barking — that 
fucking record rules. It even has cats "meowing" 
on the choruses. Punk Rock. Of course, I'm the 
only one who thinks so, and everyone kept yelling 
at me to take the tape off. I would just bark back 
at them, the Jingle Bell song, "Ruff Ruff Ruff, Ruff 
Ruff Ruff, Ruff Ruff Ruff Ruff Ruff." Punk Rock. 

The next band to go on was STOP. That is 
Mickey Leigh's band, the brother of Joey Ramone. 
And STOP rocked. Mickey had taken Joey to the 
club with him, as well as his mom, Charlotte, 
who is totally cool. I had met her before when I 
did a segment with them for Destroy, but thaf s 
another story. Anyway, during the whole STOP 
set, Santa Claus kept telling me' he wanted to go 
on next. Santa Claus. Ya know, the guy in the red 
suit, and white beard and all. Yeah, we had Santa 
at CBGB. He was Brendon from S.F.A., and he fit 
the role quite well. Except he kept drinking, and 
telling me that S.F.A. should go on next. He kept 
saying that he was not "demanding it," but rather 
"requesting it." Kinda like the mob requests 
things. "Hey Vinnie, I request that ya get ya 
ugly face outta town and never show up, or else 
you'll be wearing cement shoes, if ya know what I 
mean, budda-bing, budda-boom." Kinda like that. 
I mean this Santa was a big guy. Nice... but big. 
Anyway, I explain to Santa that Joey Ramone is 
gonna sing with us, next, and if S.F.A. were to go 
on, he might leave, then Joey wouldn't sing with 
us. Santa just says, "George, I'm not demanding 
we go on, I'm just requesting it." 

Finally STOP stop, hey, baruumpa, crash. 
Anyway, I decide that I am going on next, and 
will face the wrath of Santa Claus. So we set up 
our equipment, and then Mickey asks if Joey and 
he can sing, "Merry Christmas, I Don't Wanna 
Fight Tonight" for their mother. Ya see, these guys 
are always at it, like real brothers, which they 
are. Anyway, I tell them of course they can, and 

Santa hears this and scowls at me. Mickey shows 
Joey how the song goes, and they let me play 
along as well. We do the song, and I fake my way 
through the whole thing. I mean it wasn't that 
hard, it was only three chords, right? Then we do 
a short Furious George set, and Joey joins us for 
"Blitzkrieg Bop." Also, this guy Vermin, joins us. 
He can't really tune the guitar, but I don't really 
blame him. Fucking Fastlane's guitarist had his — 
anyway, we rock, and it was fun playing with Joey 
Ramone at CBGB. His birthplace. His mom liked 
seeing him play there as well, and thanked me for 
putting on "such a nice show." 

Then Santa's band played, and rocked as usual. 
It was great seeing Santa up there, screaming in 
a satanic voice. I always knew that he was that 
kinda guy. Then Bugout Society played. They had 
the best costumes ever. Ya gotta see it to believe 
it. There set was good, costumes great, but the 
best part was when Joey Ramone was pelted with 
White Castle hamburgers. Sister's Grim played 
somewhere in the evening, and finally Chicken 
John played with his one-man band. He should 
have fired his band. 

After the show was all done and through 
with, I felt a rush of relief go through my veins. 
Everyone got to play a decent slot, cause there 
were lots of people there all night, we raised some 
good money for the AIDS hospice, and most of 
all, the fucking thing was over. As my step dad, 
Nick, and I, gathered up the last of my equipment, 
and made our way out of CBGB, Nick said to me, 
"So, George, ya gonna do it again next year?" I 
said, "What? Hang out with models and Golden 
Globe nominees, smoke crack, or put on a benefit 
at CBGBs?" He just smiled, and then we hailed a 

Take My Life, Please. 

Each piece of equipmentis throttled beyond their 
natural capacity by blown-out sonic information, 
eviscerating passers-by, churning bile and at least 
half of the instruments cease to function properly 
within the first two measures of some screed or 
another. Smoke wafts around and maybe buckets 
are collecting water let in from the decrepit roof 
while attendees ravage whatever building codes 
the space isn't already in flagrant violation of. It 
should sound familiar, the clandestine operations 
of an aesthetically subterranean punk space. Its 
cloak and dagger devastation of the dystopian 
variety and the doomsday foreboding is crucial to 
the ambiance. I've had a dreary outlook lately, a 
gloomy lens through which I glean morose details 
and inject them with debatable significance, but 
it has shifted my perspective while inundated 
with records and shows. I've begun to obsess over 
what I perceive as the bleaker aspects of punk 
and if s revealed more questions than answers 


but drawing the parallels between punk and the 
end of the world is interesting. The most frequent 
question is whether punk draws inspiration from 
the apocalyptic nuances of its environment or 
creates them? 

In the vague instance described above, the 
similarity between a punk show and some post- 
apocalyptic bunker is an example of the factors 
that launch my imagination into a shelved 1980s 
dystopian film, and it elevates the intensity of the 
show a lot, but there are also negative aspects of 
the scene that mirror symptoms of the apocalypse. 
Our friends might die from chemical exposure, be 
brutalized by vigilante crews of sadists or inhabit 
abject living conditions by financial necessity. 
It doesn't seem so romantic when these things 
happen. We like to straddle the edge but when 
a friend takes the plunge, we don't step back, 
instead opting to gaze into the abyss and continue 
exploring treacherous territory. 

We celebrate the treachery, perhaps because 
we draw vitality from it. To me, it all resembles 
the apocalypse. The end times are as traditional 
a theme of punk as individual freedom, simply 
consider the Dickies covering Barry McGuire's 
"Eve of Destruction" on their debut LP and then 
Johnny Thunders including his own version on 
Hurt Me in 1983. Here we have bi-coastal punks 
arriving at the same conclusion. Their respective 
locales of Los Angeles and New York inspired 
their fixation on the apocalyptic, 1960s folk tune, 
and it reinforces my positing of the end times as a 
crucial impetus for punk. Lydia Lunch, in one of 
her few quotable moments, summarily describes 
the environment that Thunders seems to allude to 
with his cover. "We were just gonna have a good 
goddamn time because it felt like the apocalypse 
had happened. It felt like that city was the end of 
the world." 

Punk's relationship with apocalyptic imagery 
has always been of particular significance to 
.me. Bleak artwork mimicking the conventional 
perception of totalitarianism or doomsday is 
ubiquitous in punk and it's typically used to 
dramatically highlight the similarity between 
modern society and the Orwellian archetype of 
rigid oppression. Its paradoxical then, that we are 
drawn to the artwork that depicts the conditions it 
attempts to protest. Of further incongruity is that 
notonly are punks attracted to it, but we seem to 
emulate it. Now that I'm attempting to articulate 
these peculiarities on paper, the Situationist act 
of Delournement comes to mind. The stylized 
emulation of apocalyptic conditions and impetus 
can be seen as an elaborate, thorough subversive 
prank in which a pop music milieu is repurposed 
as a tool to attack pop culture, but I can assert 
with fair certainty that for most punks, dressing 
like the thugs in Mad Max is not a deliberate 
Situationist prank. Although, there have been 
Detournements within the local punk scene 
executed brilliantly, notably the sad subversion 
of the Crass symbol and typeface on a pamphlet 
protesting Steve Ignorant - s attempt to ruin Crass' 
credibility last year at Slim's, but examining 
recent Detournements in punk is another column. 
In short, that humans are attracted to the things 
that repel us is a classic adage, but it seems to ring 
particularly true in the punk scene. 

In keeping with the vague thematic template 
of this column, which I have unintentionally 
established with the preceding two installments, 
this entire convoluted thought process was 
instigated by a record review. While writing a 
review of the recent Noh Mercy collection out 
on Superior Viaduct records, a track in particular 
entitled "The Meek Shall Inherit the Mess" 
rekindled my interest in what I consider this 
under-analyzed theme in punk. It is an absolute 
lyrical triumph, encapsulating the excitement 
of baring witness to what they perceived as the 
apocalypse. It is no coincidence that the most 
forsaken urban locales, dire economic situations 
and ominous cold war paranoia elicited such 
desperate music fraught with extreme tension, but 
the ability to laugh ^nd repurpose it as inspiration 
is part of Noh Mercy's bleak appeal. The fact that 
their ominous doomsday screed inspired my own 
long-winded pontification on punk and the end 
of the world confirms my point, it seems. I've 
only skimmed the surface. These are ostensible 
observations that don't pass judgment. The tone 
ought to be one of bewilderment, punctuated by 
exasperation. The upcoming issue of Degenerate, 
given the fact that nearly every band it covers is 
frequently described as gloomy, is in the same 
vein as this column. If anyone is concerned, or 
relates to these morose fixations, write me at MRR 
c/o Sam Lefebvre or at degeneratezine@gmail. 
com. Iterate your manifesto. Suss out the hype. 

I read interviews and coverage of Pussy Riot 
before I actually watched any of the videos. The 
videos were really exciting but I was also pretty 
perplexed by them. They seemed promotional, 
which I mean, is probably the point, but really 
the first thing my brain rolled over to when I 
saw them was astroturfing — a term referring to 
the faking of a grassroots or DIY anything. I'm 
not exactly trying to say Pussy Riot is some trick 
being played out by government or corporations 
or whatever, mainly because I can't figure out 
how or what corporation or government would 
profit from doing that, except for maybe an 
attempt at discrediting activism, but really if thaf s 
somehow the deal than that plan blew the fuck 
up in their face. Looking at the first few videos it 
struck that they were so tightly edited, multiple 
camera angles of clear footage and the music was 
obviously added post production. I wondered 
what these events were like in person. I was 
also stuck thinking about how Russia is mostly 
portrayed in media and history as a country 
that heavily suppresses any kind of dissent. I've 
always been under the impression that Russia is 
a country that "makes people disappear," and 
that all of this footage would be confiscated pretty 

quickly and the videos would be pulled from 
the internets... if big brother exists how did this 
manage to get reported about all over the world 
and not immediately quashed by the Russian 
government? Maybe thafs really conspiracy 
theorist or even in a way totally naive of me, 
maybe? I was also finding it really interesting 
that the cops never seemed to appear in any of 
the footage. In all the coverage of the Occupy 
movement and really, for all of my protest history 
the majority of documentation has .tended to be 
far more focused on the presence of authority and 
police brutality and less on just events within the 
protest. Beyond that I find it hard to believe that 
police intervention would never be caught on any 
of this footage. Also, and this is a heavily western 
view, but every fucking thing that happens in the 
US at this point is filmed and put on the internet, 
everything from people bedroom dancing to 
political embarrassments to people getting beat 
up, how was there only this tightly edited footage 
and nothing else? I wanted Pussy Riot to be a new 
revolution, but I couldn't get past the thought that 
it was all entirely staged. 

Women are forced to question themselves 
constantly. We are taught a belief system that 
we must be overachievers or above and beyond 
proficient before we mention in public that we 
can do something. That everyone around us 
(men) knows exactly what they are doing and we 
know nothing. That to be involved or recognized 
for anything in the world we have to be beyond 
expert. I had noodled around in bands here and 
there for years but it wasn't until I was around 
the age of 22 when I realized that most people are 
faking that they know how to play anything, like 
in the "real" traditional sense of notes and chords, 
that in actuality most people are just bullshitting 
their way through it. So I just started bullshitting 
and all the sudden I was in like five bands. And 
while I definitely formulated a style of playing I 
still don't know a single chord. Shit, when people 
ask me to play an E so they can tune to me I rarely 
even know what string it is. In my writing I pull 
similar shit. At some point I picked up the habit 
of never prefacing anything with "I think" or "I 
believe," 1 intentionally started writing everything 
as fact, stating everything as truth. To have what 
I want as a reality be a reality. I want everyone to 
see what I say as valid and the way to do that is to 
say it is real. No questions. 

A friend of mine that was heavily involved 
in the Riot Grrl movement told me once that the 
whole thing was a lie that was repeated until it was 
the truth. It was an idea manifested into reality 
through repetition, through acting like it was a 
big deal before it became a big deal. But in the end 
it did become a big deal and if s still a big deal. 
The media blackout, the creation and distribution 
of zines, the starting of bands and touring were 
ways to make the lie truth. It was total control of 
output, total control of the idea in order to create a 
reality that was closer to what they wanted. It was 
an entirely strategic thought out fantasy that was 
built with its ultimate aim at becoming a reality. 

So, because it was born from a lie, does that 
make it useless? The fact that these things started 
as fakery doesn't mean that they can never become 
the truth. People lying on applications to get into 


school or to get some fancy job, it started as a fib 
but it doesn't mean the end thing continues to 
be a fib. The fact that I lied my way into playing 
in bands doesn't diminish the fact that I'm in 
bands that are real. Fuck, I mean, my writing is 
me bullshitting and I have a monthly column in 
an internationally distributed zine. I could refer 
to myself as a writer and at this point it would 
be true. This is the reality I wanted so I faked it 
like it was real. And then it became my real life. 
Riot Grrls wanted a different reality in punk so 
they lied until it was real. Now it is looked back 
on as a big deal (it was/is) and it continues to 
be extremely influential. A lie that turned into a 
legacy. Fake it til you make it, right? 

The latest news on Pussy Riot is that two 
members of the collective have been arrested, 
and at this point they are getting international 
attention. Their latest video is a song entitled 
punk prayer that was performed at the Cathedral 
of Christ the Saviour in Moscow. Unlike the other 
videos it shows cameras getting knocked out of 
hands, nuns forcefully trying to get them shut 
off and shut out, people detaining the women 
and dragging them away. To me it went from this 
weird staged thing, these (kind of) slick videos, 
instruments never plugged in, drums on the songs 
but no drums in sight; then with this one moment 
the lie became reality. They are in jail. They are 
on hunger strike. There have been marches in 
solidarity world wide. People everywhere are 
staging benefits. There is an open air concert in 
Moscow planned for May. They have ignited the 
beginnings of a new radical feminist movement, 
not only in Russia but possibly the world. They 
are telling the institution to fuck off and the world 
has joined in to agree. Whether it began as a lie 
or not no longer matters. It is real now and that 
cannot be taken away. 

The weather here in London is completely 
fucking nuts! First snow storm! Then a heat 
wave! From wearing Eskimo-jacket the one day to 
jumping into Hawaii shorts the next! But like all 
hardened cynical bastards in London, I am used 
to it! My standing joke is that London boosts four 
seasons every day! 

Talking about London, I went to Camden 
market the other day — I work in Camden. I 
browsed through about 50 metres worth of 
second-hand record bins, and found nothing 
worth buying! There was a copy of a Dicks 7" for 
£4 that I kind of wanted, but in the end I passed. 
Back at work I looked it up online and found it 
to be reissue or a boot or something and easily 
available online for £4. Pssft! But still at the 
market I also went to a few of those horrible goth/ 

punk/ metal merchandise shops, looking to score 
a few bags of cheap studs for my old and badly- 
molested leatherjacket. Yeah, I know, I am over 30, 
stopped wearing studs some 15 years ago, but I 
have this idea in my head of studding my leather 
and writing a massive CONTROL on the back, 
and once I get a stupid idea in my brain there is 
no turning back (the jacket will probably stay in 
my wardrobe forever, but thaf s another story). 
So anyways a few places I went to only had these 
extreme weird- and fake-looking pop extreme 
metal studs that you screw-on, but I did find one 
old shop that still sold legit punk con studs, but 
they wanted £30 for 100 studs. Shiiiiit! I remember 
when you could walk down the market and buy a 
plastic bag with 100s of studs for just a few quid. 
So I told the owner of the store about this, and 
hilariously he responded that the price of metal 
has gone up (on the stock market?) therefore studs 
are now much more expensive. As I said, fucking 
hilarious. In the end I went online and got a bag 
of 100 for a tenner. I spent a drunken and loud 
and silent night drinking Snaps, listening to the 
CONTROL side of their split with STAGNATION 
on repeat studding the collar on my leather and 
bleeding all over it as I pierced my fingers on each 
fucking stud. It was great... and ifs a work in 
progress.... I need more studs... Last time I did 
this I was 15. 1 am now 33, and living in sin with 
a married woman and our bastard daughter. Fuck 

My Swedish crazy friends GIFTGASATTACK 
had to cancel the "We're splitting up after this 
tour: UK mini-tour" last month. Why? .Because 
the bass player, Memphis, had his passport 
confiscated for shitting in a policeman's hat!!!! 
Do you understand now why the band the SHIT 
LICKERS had to come from Sweden!!??? Oh, it is a 
shame that I did not get to see GIFTGASATTACK 
again because they really are a motley crue of 
low-life criminals and drunken idiots and when 
they play live anything can happen! Trust me, 
GIFTGASATTACK on record is one thing, but 
live they were a real threat! To both your safety 
and hearing! Ifs something of a shame that — I 
guess — most people's impression of GGA will 
forever be that of a Euro band trying to sound like 
Framtid, like so many other. But they were the 
closest thing I knew of a band as crazy sounding 
like FEROCIOUS-X and with a true dangerous 
wildness factor to match Anti-Cimex in their 
heyday. Rest in peace Giftgasattack! 

But luckily, there are many hardcore gigs 
in London every month so I am not redly 
complaining. Notably CRUDE from Hakodate, 
Hokkaido, Japan (of course), came through 
the shitty British Isles on a tour with Finland's 
BACKLASH. Here in London CRUDE was given 
local support from my dear friends in STAB and 
DISCARDED. It was a great night of beer, meeting 
friends, violent dancing and vinyl collecting! Gah! 
Of course, it is a rare thing whenever Japanese 
bands play in London. In the last few years 
we have been very privileged to be visited by 
CHANNEL and CORRUPTED and perhaps some 
others I have already forgotten. My point is I am 
not really a big fan of CRUDE but I figured if 
they could travel from the other side of the world 

then I could travel down from the north to the 
south of London. But I was really blown away by 
CRUDE, who convinced me the only-way a band 
can and should convince their listeners that their 
"traditional Japanese hardcore" is of the best there 

Awhile back I wrote a London punk scene 
report for a Japanese magazine called Old Fashion. 
I mentioned the bands of my friends, mostly, for 
it is fucking hard to put a finger down on what 
bands can be said to be from London, because 
London is less of a geographical point than a 
fucking whirlwind of comings and goings and 
we're all just trying to get ahead in this massive 
fragmented ruin of a metropolis. Well, so don't 
hate me for forgetting to pinpoint of London's 
greatest punk band today: HARD SKIN! To right 
past wrongs, I met up with Fat Bob, a legend in his 
own right as you all know, to talk about his career 
as the very rich and famous singer of Hard Skin, 
at the above-mentioned CRUDE gig which was as 
they all are at the scanty Grosvenor Pub. 


Tony: What did you think about CRUDE? 

Fat Bob: I think they are very sexy. 

Tony: What do you think about Japan in general 

and Japanese punks in particular? 

Fat Bob: Japan is a very far from Gipsy Hill. Ifs 
next to Poland or somewhere around there??? 
Japanese punx are very funny: they wanted to talk 
Have you got ten yen?? No not me!! Hard Skin 
have played in Japan three times - one time at a 
sumo-wrestling convention but I have been ten 
times in total. I love the Japan especially THE 
COCKNEY COCKS. We are forming an all-female 
tribute band to them called the Cockney Cunts!!! 
Tony: Whafs this new Hard Skin record that just 
came out? 

Fat Bob: The new album that came out (not in a 
gay way) is called We're The Fucking George — it 
collects all the singles from 1978 to 1981 but we 
forgot to include one or two singles on it because 
we were having a glue party at the time. It has just 
come out on CD (the best format in the world) on 
JT Classics Records — the new label run by Johnny 
Takeaway. He sells the records on his fruit and veg 
stall — know what I mean?? 
Tony: Whafs next for Hard Skin? 
Fat Bob: Hard Skin are recording a brand new 
proper album called 10 birds - 20 Tits with female 
singers including Becky Bondage, Becky CHAOS 
UK, Sandy from FUCKED UP, Joanna Newsom, 
Alison from THE KILLS and many more. We are 
gonna be very famous from this record. 
Tony: What would you say to fans of Hard Skin 
in Japan? 

At the time of writing HARD SKIN is on some 
sort of European tour. I suppose that's good for 
the boys, to get out a little... and to spread some 
of that Gipsy Hill magic about! 

Meanwhile, London had more hardcore gigs! 
Namely, Madrid hardcore punk powerhouse 
SUDOR!!! I caught them at Powerlunches in 
Dalston and it was fucking great! Stupid, badly 
tuned genre-agnostic punk rock with garage 


distortion guitar by spastic front-man Hector, 
backed up with a punk rock d-beat way back and 
on his left a bass guitar that sounded occasionalry 
not out of place in England or Malmo 1982. As 
usual I got too drunk, chain-smoked, picked-up 
records and zines — I even found a old antique 
wooden kids chair on the backstreets of Hackney, 
that I dragged home with me on the night train! I 
have a faint memory of punching someone in the 
eye with the leg of the chair on the train but if s 
kind of hard to remember the details. 

In other news, Pogo Corner finally released 
his just a little delayed latest release— CHAOS 
DESTROY lathe disc with some old songs that 
was left over. The cheeky bastard did not print 
it with the glamorous color photography that 
boasted a pretty 1950s pinup and a shitty logo, but 
since I already had the artwork I went down to 
my local print shop and made my own cover, on 
glossy photopaper! And it looks great, of course! 
The record sounds like shit but that's another 
matter. By the way, this was a 25 copies only 
release — because Corner spent all his cash buying 
STRUGGLE FOR PRIDE t-shirts, or something— 
but you can naturally download it on the internet 
somewhere, besides you probably don't care too 
much anyway! Corner's next release is another 
retarded one — a one-sided seven inch with old 
Japanese nonsense noise band called GAME BOIS, 
who — yes — played noisecore and sung about 
playing, you guessed it, Nintendo gameboys! 

Hey, yes I know, the PEOPLE LP is out! But 
at the time of writing, I am still waiting for my 
mailorder blue vinyl version (with badge) as well 
as my locally-purchased black standard version. 
But since no less than five people have' written to 
me to ask my opinion of it, and since I am daily 
exchanging emails with friends about the LP, well, 
lef s just say I am still shocked and intrigued and 
delirious just thinking about what Andrew said — 
that if s the Fairy Tale mini-album re-recorded 
(but I remain skeptical that is indeed so? Why? I 
don't know!)!!! Fuck, I just hope it is not ruined 
by bad mixing - like the Control 7" . Also, on a 
related note, I am not allowed to say anything, 
but lef s just say I know something you don't, and 
it will make you really excited, but forget about it 
for now, and remember it again when you know 
what I know today, and then look back and say, 
hot damn that Swedish idiot is really clever, but 
for now lef s leave it at that! Ok? 

I may have talked about CHAOSCHANNEL 
before, well No6 (vocalist and key ideologist) 
had another band called KICK THE BOLLOCKS 
sometime around the late 1990s (in the small 
pause between the breakup of CHAOS CH and the 
reformation of the band as CHAOSCHANNEL). 
You may know about the KICK THE BOLLOCK'S 
EP because ifs been on the internet for many 
years, and probably a few copies made it abroad 
as well. Ifs a two-song single that will very 
vaguely satisfy those who long for more Japanese 
punk rock of the Never Can Eat Swank Dinner type. 
But I for one did not know until a few weeks ago 
that the band also had released a CD. Well, I have 
just scored this via a good friend in Japan. And ifs 
about a zillion times better than the EP!!! While 
the EP wasn't, ultimately, enough sounding like 
the SWANKYS, the CD is totally Swank Dinner era 

the SWANKYS obsession, unlike anything you've 
ever heard (minus the above-mentioned great 
band PEOPLE from Oita!! Maybe?). My point 
is not bragging, but informing, and for arguing 
strongly for a vinyl reissue!!? 

I have also scored a copy of the LAST CHILD 
CD! But ifs still in the post so I can't really 
comment. For me, LAST CHILD was the last of 
the minor/ major KWR bands that I had not yet 
heard this spring. I first heard and got obsessed 
with LAST CHILD from the excellent "Never Give 
Rock" remix on the bonus CD that came with the 
Reorganisation The Sivankys DVD. The remix of the 
song was nothing but the lead riff on a loop but I 
was sure the original song would be a killer! After 
a long battle with lost parcels, I finally scored a 
copy of the Punk Vie World compilation that KWR 
put out on a 10", which came with a LAST CHILD 
promo-flexi, containing the same song. But ifs not 
the original version, but one containing a radio- 
advert type voice-over in the middle of the song, 
which is hilarious. But luckily there's two songs 
on the V/A-Very Best of Hews CD -that KWR also 
released, and both songs are great! Just very plain 
and even generic pub rock, but with a snotty bad 
attitude problem that brings the band back into 
the punk rock / KBD fold! 

I have also spent some time in front of the telly 
lately, watching Kings World Records VHS tapes. 
I finally got the SWANKYS' Last Punk Show 1989 
VHS, the LAST CHILD Live & Promo VHS as well 
as Michael Jackson & Friends DVD! Great shit! I've 
got a good lead on the CUT video as well. . . fingers 

Finally on my on-going research / obsession on 
all things Kyushu punk, two amazing previously- 
unknown live records have merged: A fan-made 
bootleg of the SWANKYS live in 1986 has found 
its way to the internet! Ifs great shit! Finally, Pogo 
business hot shot Mr Corner-San claims to have 
just scored a unreleased GAI live recording with 
good sound! Can't wait to hear that... 

Ok, I am off to Sweden now, with some luck 
I'll have something for you in the next column. 
Cheerio from the land of UK82, glue and studs! 


I love music. Mostly because ifs done by 
people, and I hate music when I can't feel people 
behind it just people in front of it. I hate music 
other occasions as well but the worst is when you 
only feel like ifs a service provided for a perfectly 
targeted and specific audience. Once I read a great 
line in a review about a band's show that said the 
problem with them was that they wanted to seem 
like a band looking forward but rather they were 
just looking around for others' reactions, whoring 
themselves for their attention. And for me this 

not only translates to shallow wannabe Dadaist 
no-wave bands but for all immoral, mainstream 
music in general. 

I love music when its players are looking 
inside themselves and forgetting whaf s right and 
what's wrong and who will give what kind of 
shit. Nothing to prove, nothing to lose. But then 
I also just love when they are creating something 
unexpected, and this column will be mostly about 
awful records which I do not love, but I guess they 
still hold some higher meaning not only for punk 
but for life in general as well. 

Because sometimes I really just love music 
and music itself, the whole thing. Not just some 
bands but sometimes every band. I don't feel 
like bands have to have an agenda. They should 
be whatever they want to be and being boring is 
one of these things. I never want progress from 
bands. Maybe I'm a terrible music nerd 'cause I 
never really can say who my favorite band is and 
which is my favorite record. I only know what 
my favorite song is currently. I knew what was my 
favorite band but I'm not so sure anymore. I just 
don't see the point. I used to have a best friend but 
we have gone cold and I haven't even talked to 
the guy for more than two years. Since then I have 
many people I love but could not put them in 
order cause I just don't feel the need. They are just 
people who are interesting, understanding or just 
not fucking hard for me to stand. And music is the 
same to me if not better cause I guess sometimes I 
like my turntable better than people. 

Sure, often I get floored by one band's unique 
awesomeness, but other occasions I just listen 
to bands' endless flow of rehearsal room demos 
recorded before they broke up and vanished 
forever, and just staying in my constant state of 
loving punk in general. I never desire "progress" 
from a band when I feel like they have reached the 
point where they are playing whatever they want 
to. I don't want a punk band to end up sounding 
like Factory Records could have released them 
cause then I would just rather listen to someone 
that was born to play such music. I love when 
bands do progress and something cool comes out 
but I never have any problem with the Ramones- 
esque approach of playing and recording the same 
song over and over again for decades. All I want 
is bands to be themselves. They should die to tell 
me their stories and this attitude should trigger 
reviews like the legendary Sniffing Glue's Clash 

Music is interesting because ifs done by people 
and people are strange and fucked up and funny. 
I guess a bit ifs like love. Or relationships and 
break ups, finally-fulfilled love and the always- 
burning feeling of being afraid of ending up alone 
for the rest of our lives. When we find true love we 
just want to anchor it and sometimes we forget in 
a relationship there are at least two poles. So while 
being happy yourself, there might be someone 
on the other end who wants something different 
from you. That is when just you find true love and 
it doesn't find you. But luckily while boyfriends/ 
girlfriends (and by the same token, bands as well) 
can come and go, records can stick with us in their 
full glory. 'Cause after all, records are memories 
that are better than photographs. The confusion 
comes when we can't tell the difference between 


the past and present, we want to stick to bands we 
used to love, the partners we used to love. 

So because there is this connection for me, I 
really hate fucking professionalism when it comes 
to making music, but also professionalism in the 
fan-dom of music — because if real life is always 
in flux and forcing us to adapt, so should our 
approach to loving music. 

Maybe it comes from me being incapable of 
accepting culture as a rule — like somehow there 
is fine art and if s opposite. I just think there are 
people who are expressing themselves and people 
who get it or not. I hate it when people go beyond 
being critics and start to act like fucking producers, 
managers or band members who know better and 
feel like they are in charge to make decisions. 
All those lame people complaining: "That band 
should have broken up afterthat record," "They 
shouldn't sound like this," "Why do they keep 
doing this?" Why do you keep doing this? 

You know, while it might entertaining to treat 
bands like football teams and want them to come 
home with good results, if s also a schizoid thing 
to do. I hate Bad Brains J Against I (and everything 
after) but why would I be disappointed in them 
fully? If s definitely not good that they stopped 
making good music at one point and just turned 
into a boring proto nu-metal shit, but I can live 
with that cold fact. Maybe I won't be the biggest 
fan of the upcoming Fucked Up records, but I can 
let them go and I'll stick to Generation or even that 
song "Twice Born." But sometimes bands just grow 
boring. And if s in a way obvious. People like to 
play music and write new music but some genres 
have their own barriers in creativity. And some 
bands are fine with this. Or their listeners have 
barriers to being open 'cause after all listening to 
music is not a duty — that's why having limits to 
our attention is natural and to except otherwise is 
an unnatural snobbish thing to demand. 

The end of the '80s were a perfect example of 
bands making it intentionally challenging to listen 
albums, while nowadays if s more like bands 
breaking up and reforming in other genres and 
having million side projects. Now if s the music 
thaf s changing within punk and not the bands. 
Just take Johnny Moped or Swell Maps from the 
past and Home Blitz, Merchandise, the Young, the 
Men from the present. Bands who are rooted in 
punk but from the start trying to do something 
different. Nowadays if Saccharine Trust wanted 
to do a horrible jazz band, they'd do some spin- 
off project rather than keep playing with the same 

I also don't think a label like Matador, "kills" 
good punk music 'cause good punk music 
wouldn't even be signed by a such label. No 
beef with them, but it's not a punk label. I doubt 
that SSD really believed that they could be such 
big hard rock stars. I doubt that bands like Meat 
Puppets played such beautifully chaotic music 
that so perfectly represents teenage confusion only 
because that was all what they had at the time, and 
really deep down they wanted to be a mellowed 
out pothead country band that they are right now. 
Why would people wanna play terrible music if 
they got popular playing awesome music? 

I just chalk up these "changes in direction" to 
total craziness. Getting into a bubble where you 

only care about yourself. When you allow yourself 
to be embarrassing and crazy. When you think you 
are the best or could just do anything, and not for 
money or for fame. It's just that heart of darkness 
megalomaniac obsessive craziness. Like being 
in love when you open up way too much. Bad 
records are like other people's love, or the things 
that make us feel like depressed, so you could say 
that from these records we can learn about them 
and ourselves as well — in general about human 
existence. Isn't this the point of Into the Unknown! 

Most of the time good punk bands' terrible 
records are cheap copy-cats of a genre they wanna 
ape. And it doesn't matter how good musicians 
they are cause mostly it's about stepping forward 
and discovering what they are capable of. Into the 
Unknown. But these shit records are the perfect 
testimonies of their true punk heart and nothing 
more. Cause great music is rather played by 
enthusiasm than by hands. And a punk can't play 
shitty music with enthusiasm. Cause punks are 
not assholes. We can't betray our hearts! 

So these bad albums are not just total failures for 
not succeeding in a new territory but more because 
they are just boring as shit, but somehow with that 
awkward style like when a charming kid who is 
smart in kindergarten tries to talk to the adults. 
This is punk's point, I think. We are who we are, 
and doing what we want cause we want it. Not 
because we are not ready or equipped enough. 

While these records are born in the bubble of 
total confidence of their makers, to us listeners if s 
everything outside the bubble. It's life and living. 
In these records there is happiness and sorrow and 
joy and boredom. And maybe punx are sometimes 
not too ready or equipped for these, cause "real 
life never meant too much for us," right? These 
records are like the opening monologue of Annie 
Hall: the living proofs that sometimes temporary 
mentally illness is not a too harmful thing — for 
some of us. The rest of the listeners are dying out 
of disappointment, and their loyalty for eternal 
quality is amazing, but as I said they are stupid as 
well. Cuz if s beautiful isn't it? The whole thing: 
bands going crazy and either their fans following 
them into falling down and losing all their glory 
or being heart broken by that familiar betrayal of 
stopping to write awesome songs. 

I mean, while the Wipers are one of the 
greatest bands ever, we all know that Greg Sage 
sucks in soloing, but he sticks to it! On the other 
hand, straight edge bands starting to do coke and 
playing U2 music? 7 Seconds turning into soft 
rock shit and Dag Nasty being even worse? The 
math rock, white jazz downfall of SST and the 
static, serious studio sound of infinite other bands. 
I don't think anyone who loved Die Kreuzen Cows 
and Beer would have wanted a record like Century 
Days or Cement. 

Maybe ive should take more advice from 
Daniel Johnston when he is singing "I love you 
more than myself." And while it's one of the most 
heartbreaking sentences in the history of weird 
music, sometimes it's also true. By accepting the 
borderlines between bands and us, we can accept 
that they are doing something they want to. This 
doesn't mean that we should support these acts 
with full heart. Just let them leave with a gentle 
smile and a warm hug for the amazing records 

they gave us while the only thing they were really 
doing was playing the music they loved to play. 

I always looked on records as capturing a 
moment that the band wanted to capture — but 
only that moment. Thaf s why if s hard to make a 
good record. 'Cause sometimes the worst pictures 
taken are from the best parties. Or our coolest 
memories are connected to friends who later 
turned to assholes. But maybe bad records could 
make us love good records more. Love people 
more. To remind us to want to be forever in that 
moment when everything was fine, 
vargy ai / punkersblock.blogspot. 

The last few months I've been talking about 
"starter punk" of the late '70s UK variety. More 
of that below, but first I want to take a side trip to 
Yugoslavia to talk about that countries surprisingly 
awesome late '70s and early '80s punk scene. To 
be honest, back in the day I never paid much 
attention to anything out of Yugoslavia other 
than UBR and the Hardcore Ljubjana compilation 
LP. When Bloodstains Across Yugoslavia came out, 
I thought it was a joke. I remember people saying 
the Bloodstains and Killed By Death trend had gone 
too far when places like Yugoslavia and Portugal 
had volumes. I started to warm up to Yugoslav 
punk in the '90s a bit, but it was always in one 
ear and out the other. It wasn't until the early 
'00s that Marko from Vitamin X (who is Serbian) 
made me listen to Pekinska Patka that I really got 
interested in Yugoslav punk. Like a lot people 
involved in hardcore punk, I always put USA, 
UK, Japan, Sweden, Finland and Italy first in 
terms of quality output. There is certainly a bias 
in record collecting towards these scenes, and I'm 
pretty guilty of this bias as well. I've always felt 
that to be punk behind the Iron Curtain, you had 
to be really punk. The long shadow cast by Stalin 
over Eastern Europe resulted in one of the most 
conservative and conformist cultural landscapes 
in modern times for some five decades. One had 
to be a real rebel to start a band, dress in shocking 
styles and challenge the conformity of the 
communist regimes. You ran a real risk of jail time, 
police harassment and discrimination. Many east 
bloc punks were fired from their jobs or expelled 
from university, and some were even locked up 
in mental institutions or saw jail time. Yugoslavia 
was one of the most liberal of the Eastern Bloc 
regimes, and there was more contact with the west 
and freedom of expression. As a result, punk was 
able to take root there a little more readily than 
in other countries, only Poland seemed to have as 
prolific a scene in the early days, and the Polish 
scene seems to have really blown up a few years 
later than in Yugoslavia. 


Most of what I know about Yugoslav punk 
comes from reading this magazine. If you dig 
through your back issues you will find some 
really consistent and informative "Pioneers of 
Punk" articles about bands like Pekinska Patka, 
and of course, on the spot scene reports from 
the days before the fall of the Iron Curtain. I was 
on tour with Vitamin X in the early '00s and we 
stopped at the MRR compound to spin a few 
records on the radio show. Marko dug out the 
classic Pekinska Patka LP Plitka Poezija and told 
me what an important record is was in the history 
of Serbian and Yugoslav punk history. I paid more 
attention to the band than I had in the past and 
was suddenly hooked. When I got home from tour 
I carefully studied MRR back issues and the liner 
notes of Bloodstains Across Yugoslavia. One thing I 
learned is that if you are interested in collecting 
Eastern Bloc punk records, you don't need the 
kind of bankroll you do to collect Japanese or 
American rarities. Most of the classics are readily 
available at somewhat less than eye watering 
prices. Relative to its quality, Polish, Czech and 
Yugoslav punk is pretty affordable and also you 
can find more people into trading. 

Back to Pekinska Patka. Their first LP and first 
three singles are all top shelf ragers. This band 
has a totally unique sound. There's a hard driving 
choppy guitar you would expect in late '70s punk. 
But at the same time, there are some melodies 
that sound as if they were lifted from some kind 
of Serbian traditional drinking songs, but that 
totally work in an amped up punk context. Serbo 
Croatian is a surprisingly raging language for 
punk lyrics, it sounds to me like an equal mix of 
Russian and Italian. I don't know really what the 
lyrical content of these records is, but the vocals 
are strong, and unique. The original Pekinska 
Patka vinyl is fairly affordable by collector record 
standards, and (here was a bootleg LP a few years 
ago that should be fairly easy to track down. And 
don't rule out the Bloodstains Across Yugoslavia 
comp, ifs got quite a bit of Pekinska Patka 
material and is a good introduction to this often 
overlooked, but totally raging scene. 

No wlefs get back to the UK in 1 977. This month 
I'd like to talk about the Vibrators. The story I 
heard was that the Vibrators (along with Slaughter 
and the Dogs) were already a well-established pub 
rock back in 1976 when punk first took off. They 
had a punk sounding name though, and were able 
to cut their hair short, speed up the tempo of their 
songs, quickly re-invent themselves as a punk 
band and get signed to a major label. Whether this 
story, is true or not, the Vibrators were definitely 
already talented and well practiced at writing and 
performing when the punk movement blew up. 
That is to say, they weren't bored teenagers picked 
up guitars for the first time and jumping on stage 
with pure enthusiasm to drive them (which was 
the case with bands like the Cortinas, Eater or 
the Adverts). The Vibrators first LP Pure Mania 
is one of the classics of '77 UK punk. Listening 
to this LP now, one can hear the heavy pop/'70s 
rock influence but ifs unmistakably punk in its 
execution. A band like this would barely register 
as punk today, but for 1977 I'm sure it seemed 
unbelievably raw and snotty. Vibrators definitely 
brought their pop/rock influence to bear in the 

lyrical content. The songs on Pure Mania are pretty 
forgettable even by '77 punk standards. That is 
to say "baby, baby, baby, won't you be my girl" 
and "You broke my heart into little tiny pieces" 
sound a lot more like what was being played on 
the radio, than what was coming from bands like 
X Ray Spex or Stiff Little Fingers. That said, the 
Vibrators did write some punker, punchier lyrics 
on their second LP V2. The band showed a great 
ability to jump back and forth from snotty hard- 
edged punk rock, to a mellower rock/ pop style. 
This is something pretty much no bands do now, 
preferring to stick to a more predictable stylistic 

The Vibrators second LP V2 is solid all the way 
through, again, solid punk, but with some heavy 
pop and rock influences, though those pop and 
rock influences are more a result of the influence of 
punk on the music of the intervening 30 years. That 
is to say, if you spend all day listening to '82 style 
hardcore and D-beat raw punk, of course bands 
from 1977 are going to sound a little slow and 
rock influenced. But that" s part of what makes this 
music so great. Ifs got a timeless, catchy, tuneful 
flavor combined with a snotty and rebellious 
attitude even though ifs now older than many 
readers of this magazine. The Vibrators did quite 
a few BBC Sessions and there are some collections 
of Peel Sessions and BBC Sessions, some of which 
feature slightly more raw and on the other hand, 
slightly more melodic versions of the songs from 
the LPs. The last Vibrators LP I checked out was 
Guilty, from 1982 on Anagram. It sounded a lot 
more like '80s rock to me and seemed to have lost 
a lot of the punk influence. I spun it again when 
writing this column and it's OK, but nothing 
like the first two LPs and the BBC sessions. The 
Vibrators career has continued to this day and 
I've seen several recent LPs and they continue to 
tour. I've heard they are still quite good, but to be 
honest, I've never had the chance to check them 

There are a few places in this world where, 
despite the varied trappings of scenery, the noise 
and presence of your peers or the various little 
day-to-day tasks and activities, you have the 
weird blessing of being able to spend most of your 
time just sitting, and thinking. One such place is 
prison, another, a monastic retreat. Smack in the 
middle of these two, just about, is the place where 
I spend most of my time: Community College. 
Ifs one of the few places in the world where 
every single stereotype I had ever thought about 
it turned out to be not only totally present and 
correct, but actually proved me conservative in 
my guessing. Add that to my the gulag-type labor 
I endure under the auspices of my Greek overlords 

at Brothers Papadopoulos Flowers (my job), and I 
have almost a surplus of time in which I can do 
absolutely nothing but look at other people, and 
think about how weird they are. 

Naturally, this practice extended into another 
rather large area of my life: Punk. I started thinking 
about the weird little groups and tribes within the 
larger context of punk — the straight-edge types, 
skinheads, tussle-haired "rocker" punks, "raw" 
punks (and their many-studded forefathers, the 
"streef'punks), and on and on. I thought about 
how bizarre all these little subdivisions would 
seem to an objective observer. Take, for instance, 
straight edge. Ian MacKaye and his first band, 
the Teen Idles, were on tour in California, playing 
at the Mabuhay Gardens here in San Francisco. 
Now, as I'm sure most people who've played at 
bars while underage know, some pushy bouncer 
or another will always insist on drawing a big X 
on your hand so you can't buy a drink at the bar. 
Apparently, the Teen Idles thought this was a great 
idea, so they, in typical hyped-up teenage fashion, 
adopted it back home in DC. Imagine, thirty years 
later, getting tattoos on your hands, neck, face, 
whatever, because a doorman in a dingy club on 
Broadway ID'd some teenagers. That's absolutely 
insane! The word has even entered the common 
lexicon, which has led to some particularly strange 
places (look up "Tim sharky Pattaya" on Google 
to fully catch my drift). Personally, I don't really 
care when way or another in regards to a person's 
sobriety, but of course straightedge is much, much 
more than that, at least these days. Now they all 
collect shoes. 

Alternately, I can barely count how many 
Johnny Blunders types I've met, all dressed up 
like members of the Boys in 1978, playing an 
acoustic guitar they purchased a couple months 
ago in some candlelit room, little holes sprinkled 
down their arms, just like all their heroes had. Can 
you imagine shooting up heroin because someone, 
dead of the drug before you were born, seems cool 
in pictures and records? I always thought Johnny 
Thunders was just a non-starter Keith Richards. I 
remember sitting in a living room at my friends 
house, when her roommate came in and heaved 
across the room in this sort of weak stumble-strut, 
like he was going to keel over at any moment 
(because, it is implied, of the heroin he just shot 
into his pencil-thin arms). He sits down on this 
overstuffed black leather chair and positions 
himself into the most affected and purposeful pose 
that I had ever seen, with his head lolling about on 
his shoulders, his elbows resting on his knees like 
pillar-monuments to sister morphine, his long thin 
legs uncrossed, as he was saving that sympathetic 
little trick for his feet. Who the fuck crosses their 
feet, unless they're doing it on purpose? He picks 
up an acoustic guitar, chokes through the worst 
rendition of Dead Floxvers I hope I ever hear, then, 
as if his frantic doped brain had just been struck 
that moment with the idea, flees the room only 
to return in moments with a red light bulb. He 
mumbles something (is that a slight British accent 
I detect?) about "mood lighting" and gives the 
obvious knowing chuckle, pulls up a stool and 
commences the changing of the bulb. His shirt, too 
small even for his pinkie-finger torso, slides up, 
revealing a huge, half-finished Subhumans logo, 


tattooed on his stomach. You know, that crummy 
little skull'yelling into the microphone? There it 
was, or rather, there most of it was, indelibly inked 
on this clearly impressionable young mans belly. 
He hadn't even gone through his "punk" phase 
before hanging up his Doc Martins for a pair of 
snakeskin cowboy boots. 

Then, of course, there's that new big thing in 
punk, "Raw Punk". If s like the Casualties with 
the internet. It seems like every fucking city in 
America has some goddamn "noise not music" 
creep running the place nowadays. How weird is 
it? I had no idea so many people I know wanted 
to be Japanese. I try to avoid these the best I can. 
They'll all move to Portland eventually. Anyways, 
I'm cutting this column short because my keyboard 
isn't working, but I leave you with these parting 
words: Don't get a Subhumans tattoo. 

Eat more sweets, take photos of yourself, laugh 
"at policemen, fry potatoes, chug beer, hold hands, 
stroke your armpits, watch a movie, water your 
plants, be around children, say it out loud, hug 
your father, eat pizza, think big, wear clogs, deny 
shame. Okay, first disclosure: I'm higher than God 
right now but I'm a trooper and I'm pretty sure this 
shit is late. The weed was my housemate's, some 
of who usually do that sort of thing, and I helped 
them out strictly because it needed using up (!) 
to mark the start of a health kick on their parts. I 
don't, I can't, I never usually do that sort of thing, 
cuz I got A) asthma and B) shit to do, you fucking 
loser. So on the very rare occasion this happens, 
the effects hit me like a tonne of juggalos. With 
that in mind lef s embark on a beautiful pathway 
of circuitous logic to match the direction of my 
spinning head. C'mon baby. 

Second disclosure: It's been quite a while since 
a new hardcore record has demanded my attention 
for more than one spin. Since a live set of that sort 
has stirred something, created any significant 
reaction. Maybe that's due to the kinds of bands 
playing out in my city right now, the most exciting 
of which (that is to say, Woolf and Satellites of 
Love; plus a smattering of others) are mining 
slightly different punk territories sonically, but I 
do keep up with whaf s out there internationally 
for the most part, checking out what looks cool as 
my non existent income allows. Yet still, any true 
revelatory live sets, and any stop-you-in-your- 
tracks-turn-it-back-over-again-again records? 
Both have been few and far between. I didn't think 
I cared about this, happy as I was, plumbing the 
depths of the Factory, Folkways and Flying Nun 
back catalogues, picking up Wire singles for four 
quid a piece and that (patchy) second Waitresses 
LP for even less. 

That was until a local band that that had not 
been doing much, despite having shown some real 

promise (in the least patronizing way possible) 
over a handful of shows in their year or so of 
existence, went some miles out of the city, to the 
coast, to Dorset, where they stayed in a caravan. 
While they were there, they recorded eight songs 
with analogue lifer John Chuckalumba (who 
recorded Electric Wizard's Dopethrone at the same 
spot, think about that), then they had Ellis put 
a record out, a 12" EP no less. And that record, 
No - s/t, is so rucking great that I cannot stop 
talking about it to everyone who'll listen, which, 
when by stroke of magical coincidence a couple of 
good friends are in this band, is a little awkward 
for everyone. But also holy shit. Appraising the 
musical work people you gotta socialize with is 
always a bit weird, but let it be known that I am 
not just saying this. I promise you. It's ridiculous. 
Mecht Mensh is a band that their overall sound 
as been compared to, and I can see that totally, 
but the record maintains a rollicking speed that 
MM doesn't (if we're talking about them in the 
context of that split, which if we aren't we should 
be). If s frantic and desperate, with a cool, slightly 
"off" bass sound that's somehow both sinewy and 
huge, but not overpowering. Ralph's guitar style 
is usually instantly recognizable regardless of 
which band he's playing in, but here it's light on 
solos, stripped of all excessive instrumentation, 
building this band's sideways slant on hardcore 
concepts — cuz all the best ones are here, but 
they're ground up, detourned and abused, 
falling to predetermined pieces at the right 
points, so that just when precedents have been 
established, they're broken down again in songs 
like "Pathway" with its banging stamper build up 
and lurching, almost nauseating riff circuit, and 
the closing track "Don't Forget" doing a similar 
job on side two. All this is added to by Jim's 
hungry, tensely taut rasp, that moves between 
yelled and almost spoken, and is, thank-god, 
geographically authentic, that is to say without a 
single trace of that transatlantic embarrassment of 
flattened vowels syndrome that so many singers 
in hardcore bands in the UK and Europe fall, with 
a depressing inevitability, almost unconsciously 
prey to. This record makes me feel that the 12" EP 
format sometimes gets an unnecessarily bad rap 
in punk. If s not pressurized to perform like an 
LP might be, with a conceit or some kind of other 
overarching "thing"-ness, as if to somehow justify 
the bragaddocio of the format, but it still takes 
you further in than a single can, which would 
not been the best medium for the high-speed 
brooding witnessed her of these songs. No, but 
yeah, No have done good here. Because these are 
future times and we are young future people, you 
can stream, and then no doubt B-U-Y the whole 
thing here: 
album /no . 

Finally, disclosure three: This week I felt 
guilty listening to a song. It was weird. To 
conceptualize this to a level its okay to talk about 
here: the level of pleasure it is possible to obtain 
from a document of a person's most harrowing 
experiences, of their deepest loss and sadness, 
when they've phrased it a certain way, is one of I 
art/ life's greatest asyncronicities. You know? 
You know. It's far from a kind of schadenfreude, 
certainly, or even recognition, as it doesn't take 

having directly experienced what they might 
have in order to get it. I'm not on some wild emo 
freakout handwringer tangent here either, as this 
principle holds true for a lot of genres; think about 
the song "Job" by Nubs. Everyone, unemployed 
or otherwise "gets" that song. It's about telling the 
truth, Ruth. But, but, but. ..all bands are made of 
humans. Because of this, the suffering, rage, fear, 
desperation that we might hear and identify with, 
or be floored /awed /slack-jawed by, must always 
come, in some sense, from a real place (the best 
always do, I think) and that realness will always 
come at a cost. Shoppers, just fr'instance, was a 
band that I felt brought a little truth back to punk, 
although never so "true" as to stultify, never at a 
cost of the escapism that the buzz/ howl dialectic 
can bring. They bowed out for their own reasons, 
but not before upping the game in a way that I 
hope scares you into something, just as much as it 
electrified me. We'll remember this band, I think. 
Oh and fuck offfff if you got to see them play. 

Final Disclosure: This took me four hours 
to write because I kept forgetting how to read 
English. (See Disclosure one) Write riffs, howl 
unashamedly, cheat death. 
Keep the bleat: 

Go Team, Smash State! 

Lefty" Hooligan -What's Left? 

I recently saw Vie Kid with a Bike, written and 
directed by Jean-Pierre and Luc Dardenne. Movies 
by the Dardenne brothers are art house faves and 
raves but, in my opinion, they are also slow and 
a tad boring. The story is about an 11 year old 
boy whose mother has deserted the family, and 
whose father has recently abandoned him. The 
kid, named Cyril, is eventually fostered by a 
kind-hearted woman who is a hairdresser in the 
projects-like apartment complex where Cyril and 
the father used to live. But the kid gets in with a 
bad crowd, an older criminal kid who puts him 
up to the robbery of a local newsstand owner. 
Cyril knocks out both the owner and his son in 
the process of the robbery. 

Now, here's the interesting part of the story. 
Cyril eventually gets caught, and taken before 
what I presume to be a Belgian judge. There, he 
agrees to apologize to the newsstand owner whom 
he robbed and hit, and with his foster parent, the 
hairdresser, to pay restitution to the man. 

Ifs an amazing, enlightening, little scene, 
which I presume is fairly accurate. In the United 


States, its likely the kid would be tried as an adult, 
sentenced as an adult, and sent to adult prison 
where he would be turned into a hardened criminal 
and become a repeat offender for the rest of his 
life. I hardly exaggerate. The American criminal 
justice system is that punitive, and that primitive. 
And before someone takes me to task for unduly 
elevating those bleeding-heart liberal-socialist 
Europeans for coddling their juvenile criminals- 
in-the-making, consider that the Belgians have 
been around for a few thousand years. Isn't it 
reasonable to assume that they've learned a thing 
or two about criminals and criminal justice, and 
that rehabilitation and restitution might just be a 
better way to go in many cases, particularly with 

I was 16 in 1968, arguably just past the crest of 
the hippie countercultural wave, when I got turned 
on to Jefferson Airplane's After Bathing at Baxter's. 
And I was 26 in 1978, the initial swell of punk 
rock, when I was blown away by the Ramones' 
Rocket to Russia. Two rebellious youth movements, 
so it seems only natural to me that kids are always 
at odds with adult society. As Marlon Brando's 
character in the film Tlie Wild One says in response 
to the question what he's rebelling against: "What 
do you got?" Thaf s a far cry from seeing young 
people as potentially, or rather, inherently criminal 
though. But somewhere along the line, society 
started assuming the worst about kids. 

I grew up in California, before the Proposition 
13 axe fell, when high schools had plenty of 
money for education. I took art and music classes, 
and when I couldn't stomach regular gym, I took 
archery and bowling. There were shop classes, and 
drivers' education classes. Yes, I was on a college 
prep track, and took academic electives by the 
score. But I also took creative writing, and worked 
on the high school literary magazine. There were 
no overt gangs and guns at my high school, and 
no guards or police either. It was the 60s, so we 
were rebelling against dress codes and speech 
codes. We fought for and won the right to have 
an open campus at lunch, when we could leave 
the school and eat at neighboring businesses. We 
also published and distributed an underground 
newspaper, and protested against the Vietnam 
war by wearing black Moratorium armbands, 
both free speech issues. 

Nowadays, high schools resemble prisons in 
lockdown, with guards patrolling the halls, and 
police on call to arrest students for the slightest 
infraction. Gangs and guns are rampant, and to 
enforce discipline, more and more schools are 
adopting dress codes and school uniforms. Hate 
speech is strictly prohibited, as is other suspect 
behavior, though this doesn't seem to protect the 
weaker or gay kids from being bullied. School 
budgets have been cut so drastically that parents, 
even teachers, have to contribute money in order 
to give their children a halfway decent education. 
And still our schools are failing. And still our 
schools are flunking or abandoning kids left and 
right. And still our schools are better at teaching 
children crime then academics. 

Now, of course, I acknowledge that the times 
have changed. Whereas someone might have 
brought a pistol to school in my day, today its 
likely to be a bomb or an AK47. Whereas parents 

and school administrators worried that kids were 
puffing marijuana in the bathrooms in the 60s, 
today its much more serious drugs, beginning 
with methamphetamine, and continuing down 
a long list of designer pharmaceuticals, not to 
mention the drugs the kids manage to steal from 
their parents medicine cabinets. Whereas sex 
education was a great controversy and sneaking 
a Playboy into a school locker was the height 
of scandal when I went to high school, now 
everything is hypersexualized, with teen sexting/ 
cybering commonplace. Yes, indeed, times have 
changed, but it doesn't help much to blame 
complacent teachers with seniority, or education 
unions. Take a close look at the record of charter 
schools, supposedly the grand alternative to 
public schools, where unions are banned and 
teachers are hired and fired at will. Charter 
schools, on average, do no better than the public 
education system in graduating kids from high 
school, let alone preparing them for college, or the 
real world. 

In my opinion, the biggest change since my 
own high school days is that young people now 
are treated as if they are overt threats. The criminal 
justice system, in routinely trying, convicting 
and jailing juveniles as adults, is only the most 
blatant example of this. Consider the amount of 
tracking and spyware parents install on their kids 
computers, if they can manage to outwit their tech- 
savvy children. Consider the regular monitoring 
of kids' cellphones and facebook pages, not 
just by parents, but by school administrators, 
employers, and police. Consider that parents are 
even surgically implanting RFID chips into their 
toddlers, not merely to prevent kidnapping, but to 
keep tabs on their kids at all times. My generation 
rebelled against the stultifying monotony and 
corporate conformity of the Eisenhower 50s. Is 
it any wonder that Columbine has become the 
symbol for our age? 

Enough of this rant. 

There's no way to go back to some golden age, 
whether it's the 1990s, the 1960s, or the 1930s. 
Instead, I'd like to move forward, with a criminal 
justice system that practices rehabilitation 
and restitution, rather than retribution and 
punishment, at least for kids. For all the blather 
about violent crime being down in this country, 
the United States has just 5% of the world's 
population, yet it has nearly a quarter of the 
world's prisoners. Thaf s because of all the people 
we throw in jail for drug possession, small- 
scale theft, and petty crime. America's prison 
population is disproportionately black and brown 
as well, amounting to the criminalization of youth 
by race, with black youth suffering the most. 

No doubt, the outcry will be that do-gooder 
liberal criminal justice reform was tried in the 
60s and failed, or that juvenile delinquents will 
learn how to play the system and, literally, get 
away with murder. The so-called 60s reforms 
were actually a confluence of several factors. The 
"liberal" community relations and community 
policing programs that came out of the 1950/60s 
civil rights movements and violent urban unrest 
are still with us today, whereas "liberal" flexible 
sentencing practices and criminal rights campaigns 
have been thoroughly routed by determinate 

sentencing statutes and victims rights advocacy. 
However, the idea that kids should be absolved 
of personal responsibility for their crimes because 
they are psychologically disturbed and society is 
to blame is a hoary old chestnut. If you doubt this, 
check out the lyrics to the classic West Side Story 
song "Gee, Officer Krupke," copyright 1956. 

What has never, ever gained traction is that 
restitution, and in particular, rehabilitation 
should replace retribution and punishment with 
respect to dealing with young people. When the 
simple human desire for vengeance is set aside, a 
number of reasons for not taking criminal justice 
in a rehabilitative direction are typically given; 
the lack of scientific research into the efficacy of 
rehabilitation programs, the inability to parse 
out individual criminal motivation in relation to 
such programs, and the complexity and expense 
of rehabilitation as a strategy. It doesn't seem 
appropriate for the United States to follow the 
lead of other countries with many decades of 
experience in criminal justice reform. Instead, 
what is considered appropriate is for this country 
to expend exorbitant amounts of funding to build 
prisons and militarize police forces in order to 
squander astronomically more money to keep 
nearly 4% of the American population under 
some form of correctional supervision (probation, 
parole, jail, prison). 

What a waste, not of dollars, but of lives. Young 

PERSONAL PROPAGANDA... To find out my 
real name purchase my book, End Time, from AK 
Press (POB 40682, SF, CA 94140-0682) for $10. 
The book is called Fim in Portuguese and can be 
ordered from Conrad Editora (R. Maracai, 185, 
Aclima?ao, 01534-030, Sao Paulo-SP, Brasil) for 
R$ 24,90. 1 can be contacted at hooligentsia@mac. 


Since my recent US trip I have had quite a few 
letters from punks, oddly, asking me about French 
cuisine. To be honest, at first I was a bit taken 
back by this, but in the end it was actually rather 
flattering, so I've decided to do something about 
it. But lef s start from the beginning! 

This is how it went down: the first letter I got 
came from our very own MRR chief shitworker, 
Mariam, and of course I thought it was some sort 
of joke. 

"Hi Alex, do you remember when you were in 
SF and you complained about how my french fries 
'were as diplomatic s as a No Remorse record in 
the MRR record archive? Would you be a darling 
and please recommend me a good recipe for french 
fries, I have a date coming up and I need to get my 
kitchen in order! Kisses (no homo) Mariam." 


I just assumed it was a joke. You know, for us 
Europeans it's already a struggle to understand 
the subtle nuances of the English language and as 
we all know from her columns, Mariam is a bit of a 
silly-billy who likes to play tricks on people, right? 
So I just ignored the letter, thinking perhaps that 
there must have been one of those all-girl pajama 
punk parties at the MRR HQ, or something. And, 
like, Mariam and those other mad women who 
hang out in or around the MRR house must have 
gotten drunk or stoned or something, and then 
someone thinks it's a great idea to send out letters 
to harass foreigners. But racism is not funny! Over 
here in the European Union, there are laws against 
this kind of stuff, you know! I mean, don't get me 
wrong — unlike German bastards, I do actually 
have a sense of humour and I don't take stuff like 
this too seriously. I was just mildly offended, to 
be honest. I felt my blood boil for maximum two 
minutes, it was a short brief period only, I saw red, 
stomped on a Vixens demo cassette tape in a blind 
rage, then toyed with the idea of launching some 
sort of anti-MRR vendetta, or an eternal anti-MRR 
blood feud by letters, but I guess then I just forgot 
all about it. After all, that was two months ago 
when all of France came to a standstill during 
the French soccer championships. And truth is, 
after reading Mariam's letter — with the help of 
my English/ French dictionary that 1 got from DX 
from Distort zine in Australia (Cheers again, mate! 
You are a fucking cunt! Come to France and I will 
eat your mother!) — my time for punk related 
activity was already over (I set myself three hours 
of punk every Saturday, usually between 12:30 
and 15:30.) And by now I had already spent two 
hours trying to guess the meaning of the letter 
(so I did not even have time to listen to the new 
PISTOL JOKE CD-R). For this was a Saturday and 
you know I just had to immediately run outside 
to the local syndicated-unionized wine factory to 
buy a bottle of strong Socialist's (a local red wine) 
because it was the night of my local team - Le Gang 
Meurtrier du Vagin Pause Fenetre Pain Rassis Club de 
Football (To which we chant: Let the terraces fire 
with the call of the LGMDVPFPRCDF support 
club: ""Oui oui, oil Go to the blacks! Beat yourself! 
Chase the balls! Munch on them deliriously! Oui, oui, 
oi oi, oui!") — were to play a very important home 
game against our evil arch-enemies from Toullie (I 
am not mentioning their names in print, because 
sacre bleu! Merde'. These fake-amateurs are true 
child molesters and hand-clenching wankers and 
I will kill them dead with my sharpest knife or 
perhaps my long dagger next time they come to 
my area!!!!). 

Well, as you can imagine my mind- was 
occupied with much more important things that 
the little silly girlie punk games of those Yankee 
MRR, women in heat over at the MRR compound. 
But then I got an email a few weeks later, this time 
from someone called Kevin who wrote that he'd 
read my column. First he excused himself kindly 
for the intrusion, etc, then proceeded to point- 
blank ask for my opinion on French cookbooks. 
I figured that it was either just a coincidence, or 
another MRR joke. What aroused my suspicion 
was that the author of the letter claimed to be the 
ex-guitarist of Cro-Mags! This I found a bit rich, 
to say the least! I actually threw the letter in the 

open fire and casually went on reading the latest 
Louis-Ferdinand Celine novel and slowly sipping 
on my caramel and crayfish tea. Here I have to 
stop and tell you about the' latest Celine novel 
(published in 2011.) It is really great! If s in French 
obviously, but I guess the English title would 
translate to something like "The Lost Self And The 
Beating Heart: What To Do With This Yearning?" 
Well, as I say it's very good so you should check 
it out. Google it! It's about this French anti-hero 
who finds himself in contemporary London, 
searching all over Walthamstow for a mysterious 
Czech sergeant by the name of Stefan Kolodzi, 
and there's lots of sexy action and... well it's a 
bit complicated to explain here! But I do however 
intend to expand on the more interpretative 
angles of the novel in my next issue of De Journal 
La Ratcharge, which is incidentally issue number 
34, the same as the year when they murdered 
Jesus! Merde again! This zine is out in April 2012 
and it's the first issue of Ratcharge under my new 
publishing distribution venture, thaf s exclusively 
available on the internet. Its download-to-own 
price is just €12 per .pdf page (+Paypal fees!) 
Please email for total info. 

Anyway, a week or so later and I started to take 
to the prospect of becoming the punk spokesman 
for French cooking a little bit more seriously when 
I got 3 letters the same day, all asking for tips on 
how to cook a duck, how to fry a rabbit and how to 
stuff Swedish feta cheese with kuk-ost. Then a few 
days later I got four letters in one day! More food 
letters! Then a few days hence and fifteen letters! 
But my mind was blown when I got hundreds of 
letters and parcels in a massive big box of stuff, 
via someone at Aborted Society (I have no idea 
either). I guess "punk post" and collectively 
sending stuff international in one large parcel at 
a time is the future of DIY in a world of really 
expensive airmail costs. So anyway, over the 
course of four Saturdays I opened all the letters 
and I was surprised to see that they all included 
mix tapes, CDs and zines!!! And many of them 
had anarchy-signs on them, and greetings bearing 
messages such as "Never let them grind you 
down!" "In solidarity with Indo punks!" "Free 
the Acer 50 Mohawks!" Now Claire and I - Claire 
is my new girlfriend by the way, she's sixteen 
and really special, well, I haven't told her she's 
my girlfriend yet, but she thinks we're engaged 
anyway, but I am mostly just hanging out with her 
because she's got the keys to her ex-boyfriend's 
apartment, well it's long story but hey those MRR 
idiots will print anything so I might as well tell it 
to you right now — this dude's an older punk from 
Brittany who I call "Le Rival" because he looks a 
bit like me except his stripy shirt has green lines 
whereas my stripes are blue and his beret is dark 
grey while mine is dark blue (what a cocksucker 
he is! I hate his face! And I will kill him! Merde 
thrice!), well, anyway, Le Rival is notorious 
all over the south-western front of France for 
hoarding a lot of rare hardcore punk records and 
memorabilia, it's rumoured, for example, that he's 
got multiple copies of the State Children and 4Th 
International flexis, test-presses of the first Terveet 
Kadet one-sided EP and a test of the Wretched/ 
Indigesti split EP, he's even rumoured to have 
the Shit Lickers test-press and a live bootleg of 

Skitslickers live in 1981, as well as at least five 
copies of the Swankys Very Best of Hero first 
album promotional bandanas (black text on pink 
canvas; the only other place in the world known 
to man to have one of these bandanas is Flower 
Records in Tokyo, who's got a used copy, but Le 
Rival has five new old stock bandanas! Fuck him! 
I will fuck his face! Merde quadrupled!), and well 
ok, you see I am not more or less committed to 
crime than the next Joe, Pete or Brian, so what 
gives? You can never have enough records, right? 
Anarchy! Claire is my foot through the door, his 
door as it happens, I am just waiting for him to 
go on tour with his band Attention/ /Attention 
(some shitty noise punk hype band) — but besides 
she's pretty heavy-handed in the bedroom, if you 
know what I mean and that's always a bonus - 
well, now Claire and I have together compiled 
a list of French recipes that are easy-to-follow / 
impossible-to-fail, including everyday recipes for 
all you MRR-reading punks and skins! Surprise! 
The idea is to run off the essentials over the course 
of the next 5-10 columns — starting next issue! In 
the meanwhile, write for free Ratcharge stickers 

Stop the presses, hold the phone, sound the 
klaxons! The PEOPLE Fairy Tale LP is finally 
fucking out! And it's.. .a little underwhelming. 
Since they put out the excellent Fairy Tale demo in 
2010, PEOPLE have gone though some serious shit, 
with illnesses and line-up changes fundamentally 
altering the band and leaving the singer as the only 
original member. So the initial promise of an LP 
consisting of the original demo and a second side 
of all new studio material had to be shelved. That 
being said, the re-recorded demo material alone 
makes this LP worth the price of admission. This 
is snotty, swaggering punk at its absolute finest, 
all spit and venom pumping from your speakers. 
Compared to the original recordings the noize is 
dialed down and the musicianship is turned up, 
as some slick guitar flourishes fill spaces where 
feedback used to live, but all the catchiness remains 
intact. The obvious and most primary influence 
is SWANKYS, particularly the R'n'R History 
Fuck Off I Very Best of 2 era SWANKYS that was 
transitioning from their "Blood Spit Night" /GAI 
noize violence sound to the more '77 style of Never 
Can Eat Swank Dinner. Junkie-plodding drums 
and clean melodic bass form the structure, while 
guitar comes filtered through a variety of effects, 
and vocals sneer and wail in the tradition started 


by Mr. Rotten and perfected by Mr. Watch. I have 
to admit, I preferred the psychedelic bit from the 
original recording, but if s recreated competently 
here, just with a bit more metallic bombast than I 
would prefer. Still, when the intro breaks down 
and reconfigures itself into the menacing main 
body of the song it's gnarly enough to make every 
two-bit "mysterious guy hardcore" band run 
crying for their mamas. The real letdown is the 
B-side. While circumstances may not have made 
another full side of new studio material (drool) 
possible, this paltry handful of extremely raw live 
tracks is just not terribly fulfilling. Somewhere 
under the tape hiss and cymbal fuzz are a couple 
of good songs, but having waited some two 
years for this record, I really wanted more. Ifs 
a shame, but I hope PEOPLE can persevere and 
produce some new material soon. Still, all in all 
the A-side is a blast and is hands-down one of the 
best noise punk recordings of the 2000s. I really 
truly wish this was the record I was hoping and 
expecting it would be, but as it is ifs still highly 
recommended and limited enough that ifs worth 
hustling if you want a copy. (Damaging Noise 
records, PO Box 226720, Los Angeles CA, 90022, 

Speaking of Damaging Noise, Mr. Wanky 
managed to procure one of the legendary 
DAMAGING NOISE demos (the second) and 
has pressed a limited EP of noizy primitve punk 
culled from its contents for his own Noise Punk 
records. Holy noisy! This is some basement- 
level '80s Kyushu noize, and even re-mastered it 
sounds like a mess (which is hardly a bad thing at 
all!). Very much in the style, all semi-competent 
one-two UK drums, clean bass and braindrill 
guitars with the notable addition of subdued, 
almost chanted vocals that wouldn't sound out 
of place coming from an anarcho band on one of 
the Bullshit Detector comps, though there is some 
"Auuuuggggggh" in effect as well. Think the 
GESS demo or early CONFUSE or SIEG HEIL 
rehearsals and you're on the right track. This is 
definitely for fans of the style only, but if you're 
of the hardcores who just can't get enough of the 
noize this will fill a gap in your collection you 
probably didn't even know existed. Apparently 
there are quite a few of the aforementioned types, 
as this sold out almost instantly so if you missed it 
keep an ear to the ground and an eye on your local 
used-bin. (Noise Punk records, noisepunkrecords. 

Of course, DAMAGING NOISE wasn't the 
only band to recently have their demo pressed 
to vinyl, as DROPEND's excellent Demonstration 
2011 appeared as a raw-as-fuck EP recently 
as well. This is some heavy fucking hardcore, 
instrumentally blending DISCHARGE and 
EXTREME NOISE TERROR with vocals from the 
BLOODY PHOENIX school of high/ low growlers. 
This shit is hectic as MOB 47-speed D-beats collide 
with Swedish leads while the vocals bounce off 
one another across the tracks. An easy record 
to recommend to the studs and spikes brigade, 
and I'm looking forward to more! (Gasmask 
records,, Symphony of 

Portland's own FRENZY packaged their 
EP as if it were in the NERVESKADE/ modern 

noise punk vein, but a spin of the record reveals 
a hardcore attack that sits somewhere between 
ZYANOSE (maybe ifs the two bassists thing) 
and POISON IDEA. The songs are definitely 
structured in an American HC style,, but with 
guitar effects, ripping solos and hectic drums that 
recall '90s Japanese HC as well with a soupcon of 
DISCHARGE influence creeping in at the edges as 
well. This is an incredibly high-energy recording, 
with the songs blasting one into the other with 
no room for the listener to breathe. If these guys 
bring it half as hard live as they do on record than I 
demand a Bay Area appearance immediately! This 
is a fun, quick listen and definitely recommended 
to those who are not willing to judge a book 
by its cover. (Distort Reality, 
distortreality records 

Not much more to write about this month, as 
I got a few records I set aside for the column for 
review, but I did get to see a number of choice live 
sets this month. ARCTIC FLOWERS, who I've 
enjoyed on record but never seen live absolutely 
fucking killed it, Canada's SYSTEMAT1K (ex- 
UNLEARN) blew me away with their energy 
and D-beat infused hardcore attack, and ELEGY 
(who unfortunately don't project much energy 
onstage) are absolutely the sickest MOTOR-punk 
band since INEPSY. Check those fucking solos! 
Their demo is highly recommended, as is the 
meets-D-beat destruction). Until next time, email 
at agunderwood@gmail or write me c/oMRR. 

Doing It For The Fans (Or Not) 
Celebrity is an odd concept, and yet even those 
of us that choose DIY means of production and 
consumption have to contend with it eventually. 
(I'm not saying that I don't pay attention to/ 
consume mainstream media product to some 
extent, but the world of gossip magazines and 
blogs is not one I pay attention to and I can't 
imagine being part of the Music Industry in that 
way that bands that advertise at Guitar Center or 
on the walls of a shared practice space often are.) 
I've never played music because I was trying to 
Get Somewhere, though I don't fault my peers 
who are able to make a career out of it — music has 
always been a serious hobby for me and always 
will be. Anyway, I've been thinking a lot about 
fandom and celebrity and popularity in DIY 
punky hardcore and the sense of entitlement that 
comes along with being a fan, as well as how the 
producer/ consumer relationship collapses and 
changes when you remove yourself as much as 
possible from the Industry, so this column will 
contain reflections on that topic. 

You find a lot of rhetoric about Doing It For 
The Fans in mainstream celebrity culture, and 

yeah, ifs neat when someone picks up on the 
music or other art you're making and finds that it 
resonates with them, though the scale is obviously 
different for us than it is for people who sell out 
arenas or whathaveyou. It's flattering, and in our 
relatively small social world I find that "fans" 
are more than likely also people who have their 
own bands, people whose art and music 7 admire 
as well. There's somewhat of a reciprocal thing, 
and it is a thing that is hugely beneficial in a lot of 
aspects of my life, from booking tours to simply 
exploring wonderful friendships. This reciprocal 
thing, though, doesn't have to exist in order for an 
emotional connection to be formed — I mean, there 
is music I love very much that I have a strong 
emotional connection to that I will never meet the 
originators of. With that emotional connection can 
come a kind of weird entitlement to information 
about someone's life, a thing that may be in some 
senses a carryover from mainstream celebrity 
culture (where if someone is a producer of content, 
an entertainer, we as the public are encouraged 
by the Industry and its number of publications, 
ceremonies and other media and rituals to gawk 
at their life. After all, there's money to be made in 
pageviews and spinoffs). 

To return to our smaller world — when a 
popular band breaks up or a popular person 
retires from making music, you'll inevitably 
find fans making comments that go beyond the 
understandable sadness of the fact that you won't 
be hearing anything more from that particular 
project — comments that go into the "this is 
unacceptable/ how could this happen!" realm, 
which is so baffling to me. Bands break up every 
day for any number of reasons — the logistics 
that go into being in a touring band or having a 
touring project that regularly puts out records 
are incredibly difficult, particularly when there's 
more than one person involved. The idea that 
anyone else needs to remain doing something they 
no longer want to be doing because you like that 
thing/are a fan of it/have retained an emotional 
connection to it is incredibly entitled and honestly 

When I first started playing with the other 
people in my current band, we all agreed that if 
there ever came a time where we weren't having 
fun playing together, where it became more of an 
obligation than a fun thing that we all enjoyed, if 
there was ever a point at which we were churning 
out music because we felt that we should instead 
of taking time to craft songs we really liked, we'd 
break up the band. I imagine that for a lot of 
other people — for serious hobbyists like us and 
for people who do this as a career — ifs similar. 
If there comes a point where ifs not worthwhile, 
whatever that point is, when that rubicon is 
crossed ifs over: While it might be hard to accept 
that you'll never get to hear another record from 
that band you love, thaf s just part of the normal 
cycle of things. The band, while it might be more 
than the sum of its parts when ifs together, 
is ultimately those parts working together in 
tandem, and when those parts don't work any 
longer, best to jettison the whole thing and move 
on - to new bands and projects. I've never been in 
a band that is particularly popular, but I'd imagine 
the pressure to Keep Going For The Fans is a very 


odd one indeed. 

The whole thing does get more complicated 
on our level because the producer/ consumer 
relationship, as I was talking about in the first 
paragraph, is collapsed - because so many of us 
are producers as well as consumers, and because 
so many of us orbit in the same social circles, so 
"celebrity" gossip in punk terms is very often 
gossip about the people we know and love, 
which can and does get complicated really fast. 
There's the sensational aspect of it (which is gross) 
collapsed into the fact that this isn't far from your 
world the way that Hollywood celebrity gossip 
is, forming real-world consequences. The longer 
you've been involved with punk, the tanglier and 
more complicated it gets. 

I was born in '79 and started going to shows in 
DC in the early '90s (if I hadn't had cool parents, 
as I've mentioned before, I wouldn't have started 
going to shows so young, and if I hadn't lived by 
chance in the DC area where there was and still is 
such a vital scene I would not have had access to 
all that I did), which meant that I got to meet a lot 
of people from the generation before mine, original 
punks who were still around when I was very 
young and kind of starstruck. It struck me early 
on how human these people were, how friendly 
and normal and in many cases willing to entertain 
a young fan's starry-eyed conversation. Some 
of these people became friends, in that mentor/ 
older sibling kind of way. I know I'm very lucky to 
have had that experience, but I don't think it's that 
odd for someone my age who grew up in an area 
where there was a punk scene that was still going 
and already had tons of history — people my age 
who grew up in Chicago, where I live now, relate 
similar stories. We learned early on that our heroes 
and idols were just older people a lot like us who 
happened into this world at a different time. 

But as punk and hardcore continue, as 
trends cycle through, as generations pass, as 
the mainstream music industry changes, as 
information transmission changes, as recording 
and putting out your own music become easier 
and cheaper, how has this changed? How will it 
change? Are we more removed from the people 
we're fans of in a world where participation 
in punk does not necessarily require the social 
interactions it did when I was a kid (being 
handed a flyer instead of seeing a show listed on 
Facebook, where you can download a record off 
of a blog or buy it from eBay instead of digging 
through someone's distro or talking to the clerks 
at your favorite record store? Or do we remain 
close through different media, through Tumblr 
and Twitter and other such social networking 
tools? Are we talking cross-generationally, or are 
us older folks mired in our own nostalgia? How 
is fandom changing? How is access changing? 
Do we have the chance to collapse the idea of 
celebrity in punk terms? (I know that every time 
the mainstream media "picks up" on punk, certain 
people get selected out as celebrities, which 
is a weird process to watch — I first watched it 
happen personally in the '90s with riot grrrl, and 
I will always find it interesting to watch who gets 
chosen as a talking head, as a punk ambassador, 
and who doesn't.) 

All of these questions are open-ended. You are 

welcome to respond. 

As always, you can reach me at: 


Howdy folks! Not too much raer record 
excitement this past month. All this added spare 
time has had me lamenting about everybody's 
favorite record related timesuck: Message Boards! 

So what is the deal with message boards 
anyway? A baffling pursuit, so many of our 
significant others just can't understand the 
amount of time us collectors waste hovering over 
message boards. Honestly, I haven't even really 
thought about it that much until recently, it's just 
something that comes with the territory. It hasn't 
always been that way: flash back to the analog 
early '90s... 

I was in high school. Back then, I hung with 
high school skater friends most days. We were 
all music fiends, we'd blast hip hop tapes from 
boomboxes at the days skate spot, or crank some 
skate rock in whoever's borrowed car^ driving 
to the alternative cafe to pretend to hit on the 
ladies. When we were in the mood to really go 
fuck shit up, inevitably a hardcore mixtape would 
get shoved in the tapedeck, and we'd replay 
INTEGRITY'S "Micha" over and over again. 

I didn't really know shit about hardcore, 
but the mixtapes were fucking sick, I always 
wondered where it was all coming from... not 
the chain stores I was used to shopping at. An 
actual INTEGRITY CD was like a holy grail. As I 
started getting into all the bands... EDGEWISE... 
that most of these bands didn't even have CDs. It 
was all on vinyl. 

At some point I finally went to a friend's house 
who had was the source of those mixtapes, and I 
finally got to fondle some 7" singles in the flesh. 
I remember being blown away, seeing colored 
vinyl for the first time, fawning over all these 
cult records we'd been Bending for. That three 
minute hardcore fix, all in a tasty little package 
with inserts and photos and some made up one 
off label. I had to get my hands on them! 

So that's what I did. I started hitting up record 
stores, but I wasn't finding the right kind of stuff. 
I found some cool shit like MINOR THREAT and 
BLACK FLAG, but that was like mainstream 
stuff, I wanted real underground hardcore that 
I couldn't read about in Thrasher or Spin. I was 
going to basement shows, at some point I went 
to a big enough punk show, there was actually 
a distro set up. Finally, my meal ticket, new rad 
obscure punk records in my hands direct from the 
bands via this crazy underground network. I was 

But it was weird. I mean, my friends were 
kinda into it, records are rad and shit, but they 
didn't really care. They already had a bunch of rad 
records, did they really need more? "Of course, 
they always need more!" is what I thought, but 
they just wanted to skate and maybe go to a show 
once a month. At some point, this became like a 
secret introverted hobby, just because nobody I 
knew gave a shit. 

I started buying zines, ordering shit direct 
through ads. At some point I got my paws on a 
Maximum Rocknroll, and I went off the deep end. 
These dudes in Italy and Germany had like every 
hardcore grail record I ever wanted, but they 
were fucking expensive. But I had to get the lists 
anyway, just to see what I was missing. I'd send 
my SASE off and two weeks later I'd get this 
Xeroxed typewritten list, with half of the titles 
blackened out with a marker, already long gone. 

Once in a while, I'd find some crazy record I'd 
read about, or heard on a mixtape, or overheard 
older punks talking about, it would be on the 
list for like twelve bucks or fifteen bucks, and 
I'd order the thing. It was crazy! I was getting 
mindblowing shit I'd read brief mentions of, like 
NO COMMENT or INFEST or SIEGE, shit was 
even more brutal than all the straight edge shit I 
knew. This was it, I just needed more and more, 
find that next thing. 

The mailorder thing was kinda crazy, I finally 
had a direct line to the records, but like I said, it 
was this secret hobby, I didn't have anyone to talk 
to about it. I'd eventually meet a few people in 
the scene who were fiending the same way as me, 
but we were all doing out own thing, sharing our 
scores in our own little record worlds. 

When I got to college, I started to learn about 
this newfangled thing called the internet. My 
punk friends introduced me to newsgroups and 
email lists like alt.punk and fuck I can't even 
remember all the other things. I found about these 
crazy record centric newsgroups called 
marketplace.vinyl and all of a sudden the two 
week turnaround of my letter writing campaigns 
became an overnight affair, and I was reserving 
records within hours of someone's list being 

Besides the records, there were all of these 
little side chats, people all posturing or trolling, 
having deep discussions, and picking fights. It 
was fucking crazy. There would be whole days 
wasted because some dudes internet auction 
ended the day before, and you were waiting for 
him to write you back with the results. Or they'd 
post the results in public on the group, and some 
record went for twice as much as it usually does, 
and people would get in super crazy philosophical 
debates about people taking punk records from 
people who care about them to give them to the 
guy with the most money. If you spoke up, and 
one of the trolls had it out for you, he'd say some 
really hurtful off-topic shit and rattle your cage 
for the rest of the day. 

Even back in those monochromatic days, shit 
was stressful. But if you wanted the records, 
you'd kill hours on the computer, reading the 
stupid back and forths, checking in a few times a 
day to see if a new sale list or auction was posted. 
That was four years of college for me anyway. 


As time went on, the old newsgroup 
interface largely went away, replaced by today's 
newfangled message boards. The cold stark 
messages we used to exchange in the olden days 
gradually evolved into a matrix of deep complex 
online personalities. For some, especially those 
with more agoraphobic tendencies, the message 
board became the new social playground, sitting 
in front of a computer for hours on end, shooting 
the breeze with whoever is around. 

I guess that sounds pretty normal, but for us 
collectors, there is an added layer of complexity. 
Message boards are essentially a mainline to new 
music and obscurities /discoveries, and as anyone 
who collects records knows, if you miss that initial 
offering or tidbit of info, two-three weeks down 
the line, that record that was once easy to get is 
now selling for ten times the price, sold out and 
completely unavailable. Even casual collectors 
check in on a daily basis, trying to stay abreast of 
what the board's esteemed tastemakers are talking 
about this week. Many people never even register 
or post on the boards, simply lurking, mining for 
tidbits of info to guide their buying habits, putting 
them ahead of the buying curve. 

What us collectors don't realize is, what seems 
like casual reading and socializing to us, actually 
adds up to a lot of time spent. Time that could' ve 
been spent productively, but we just want to click 
in to the mainline and see if there's anything we 
might need to worry about... Three, four, maybe 
five times a day. It's one thing if you have a lax 
work setting, and you'd be sitting in front of a 
computer all day anyway. But message boards 
don't fall off on evenings and weekends. I find 
it all too easy to settle into that rut during any 
spare moment, which usually turns into 20 or 30 
minutes fucking around, maybe longer if there's a 
particularly distracting link posted. 

For a long time, I've been pretty happy 
participating on message boards, especially for 
the access to long lost friends and acquaintances 
who live across the country and beyond. I still 
haven't really sussed out the difference between 
socializing on message boards vs. socializing in 
the real world, but a message board definitely 
reinforces a feeling of being an active member 
of a community. And yet, when everything is 
said and done, I come out with deadened feeling 
of emptiness, everything is suddenly moving in 
slow motion, very real. 

After years of being an active participant, 
I feel like I've carved out my own little online 
niche. I've figured out how to mostly say the right 
things at the right times, in as few stark words as 
possible. I feel like people mostly appreciate my 
presence, my knowledge, my sense of humor. 
People probably hope I'll chime in on whatever 
the drama is this week, much like I hope other, 
older, distinguished posters will drop in out of 
a few months of retirement to type some of the 
funniest shit you've ever read just like they used 
to do. 

But inevitably, people have lives, and move on 
to deal with other responsibilities. Your favorite 
posters get busy and fall off the face of the earth. 
And the community gets reshuffled, newer guys 
become the old message board sages, to a whole 
new breed of obnoxious little dudes, and you just 

hope the new energy can make it all feel like it 
used to. And it probably won't, but maybe it 
does, and maybe even if it doesn't, it feels like 
something to the new guys. 

I guess right now, I feel like I'm on the brink 
of total message board burn out. Of course, the 
great thing about message boards is you can come 
out of retirement any time you like, remodel your 
personality or join an entirely new board. I'm 
probably just exaggerating too, it's tough to fight 
off that nagging itch to check that message board 
just one more time. But something seems to be 
changing, maybe it's just the particular message 
boards, I'm just not getting the payback I feel like I 
used to. And I'm not even talking about records! 

Wow, that was quite the rambling discourse, 
sorry! I just wanted to put some thoughts down 
because I've been thinking about it a lot lately. 
Now I'm off to listen to one of my few record 
acquisitions for the month... ROSES ARE RED 
Can't Understand 7". Killer UK punked up pub 
rock, I finally tracked down an original to replace 
my dollar bin copy I'd long since traded away. Def 
check out both sides of this two-sider on youtube, 
and if you like it, grab the Sing Sing reissue!! 


Mykel Board ! 



"Without free speech no search for truth is possible... 
no discovery of truth is useful... Better a thousandfold 
abuses of free speech than denial of free speech. The 
abuse dies in a day, but the denial slays the life of the 
people, and entombs the hope of the race." 

— Charles Bradlaugh 

[NOTE: Because of the delay between 
writing and publishing... and because of the 
(especially American) shortness of memory... 
the circumstances of this column will probably 
be forgotten by the time you read it. Even if you 
don't remember the case... I hope you get the 

It was more embarrassing than a hard-on at 
a lesbian bar. Right there, in the little ads section 
on the right-hand side of my Facebook page... 
among the ads specially chosen for me... mixed 
in with (my favorite) FIND GIRLS WHO LIKE 
TO DRINK promotion... an ad sponsored by the 
lefty phone company Credo: Tell Rush Limbaugh s 
advertisers: Stop supporting attacks on women. It 

Not-being a regular Rush listener, I don't even 
know that he said anything special until I see this 
ad. The only way liberals hear about Limbaugh's 
spew is through fanatical media monitors... guys 

and gals who listen to everything from the other 
side... then get outraged by it... professional 
outragers... call in the protest wagon! 

The right-wing has a slew of these I'm-telling- 
on-you spies. They monitor every TV and radio 
channel, every website... record everything. 
They urge boycotts for anything that supports 
homotude or questions Christianity. Pro-Israelis 
also have a slew of these fanatics. They urge 
boycotts for anything nice to Muslims. 

Example: when All-American Muslim 
premiered on Tlie Learning Channel, pressure 
from the pro-Israel right forced the Lowe's 
company to drop its ads for that show. 

The right-wing Florida Family Association, 
also pushing advertisers to drop that program, 
cheered Lowe's decision. The rest of us felt a 
little ashamed. 

Remember Janet Jackson's tit? Hooey, what 
an outrage. A nipple (and I think the nipple was 
covered) on TV! Oh no! Boycott that girl! 

And The Dixie Chicks.. .saying something 
nasty about GW Bush Jr.? Horrible! Boycott 
them too. 

Go to You'll find a 
list of "companies that support gay rights," and 
suggestions to boycott them. ..NOW! Before it's 
too late! 

If, in our society, the way ideas can reach the 
masses is through the support of corporations... 
and the reaction to any idea we don't like is 
to boycott those corporate supporters... The 
corporate world will just stop taking risks... 
stop supporting ANYTHING that people may 
not like. The range of ideas will shrink. There'll 
be nothing but THE FOOD CHANNEL, and 
JERSEY SHORE. I expect there are people who 
want to boycott those too. 

Listen buckaroos, the antidote to speech you 
don't like is not to ban it, but to answer it with 
speech you DO like. When Rush Limbaugh 
caved in and apologized for calling this Catholic 
college student "a slut," Michael Moore tweeted 

Rush— as soon as you started losing the big $$ 
from your hate speech you caved and obeyed the men 
who pay u. Wlio's the prostitute now, bitch? 

Go Michael! That's the way to answer the 
bully pulpit. Don't ban 'em. Yell back at 'em! 

As of this writing 50 companies pulled 
their ads from the show. Two stations WBEC 
in Pittsfield, Massachusetts and KPUA in Hilo, 
Hawaii stopped carrying the show. 

Flash to a Korean bar in midtown NYC: I'm 
with April, one of my colored pals. 

[Note to new readers: I don't get along with 
white people... especially white Americans. 
There are some okay ones, I'll admit. I've even 
met some... but as a group, they give me the 
creeps. Usually, it goes without saying that I'm 
with someone of some kind of color... yellow- 
brown... black... red. ..but here it's important, so I 
mention it. You'll see why.] 

We talk about Rush Limbaugh. 

"Sure," April say, "let him say what he 
wants about us... about Obama... "the welfare 
cheats"... everybody knows he's talking about 
this," she points to her brown arm, "but does 
anyone complain? Naw, no one 



I raise my eyebrows, signaling her to 

She does, "But let him insult one white 
girl and POW!! The shit hits the central air 

"So you agree with me on this free speech 
stuff?" I ask. 

"I don't give a shit about that," she says. 
"What pisses me off is that there's plenty of 
white women in the 1% and not plenty of African 
Americans... Colored people to you, Mykel... That 
fat white guy can say what he wants about US... 
no boycotts... no demands to take him off the air. 
But let him insult the purity of one white girl 

She snaps her fingers that way that colored 
girls have of snapping their fingers... making 
a large Z in the air, and adding a swish of the 
shoulder... You could just die watching it! 

She continues, "you've got Michael Moore 
tweeting and the president calling her up.... One 
white girl... Pisses me off." 

Wow! There's a point of view I hadn't even 
considered. Up to now it seemed just a question 
of free speech. Give the widest birth to the widest 
number of ideas. Now we've got class war... or 
race war... or something. Hmmmm. 

Flash back to now: April was right, of course. 
The Republican "War on Women has been the 
biggest vote getter for the Democrats. Not their 
war on the poor... their war on Muslims.. .their 
war on colored people... their war on the 99%... 
Nope, people with money can't get behind 
those things. But a WAR ON WOMEN... that's 
something Ms.... and Mr. Middleclass can be 
proud to fight against. 

It only confirms what I started out saying. 
That is, we need the widest possible variety of 
viewpoints in the media. We need the broadest 
representation of politics and of people. 

Instead of kicking Rush off the air, we should 
be demanding shows for Muslims. Instead 
of boycotting Rush's sponsors, we should be 
urging them to ALSO sponsor THE NEGRO 
TAKE IT BACK. We need MORE opinions, not 

Did you know there was a gay Muslim/ 
Arab organization? Did you know there is a 
Black Agenda Radio program? They don't have 
shows on major stations. AOL never supported 
them, let alone pulled out. Fans of their shows 
probably don't have^ enough money to make 
even the minimum for a Capital One account, let 
alone threaten a boycott. (Capital One, like AOL, 
ditched Limbaugh.) 

Facebook hosts Somos el 99%, a Hispanic 
group supporting the struggling barrel bottom. 
Thaf s it... just a page on Facebook. Where's their 
corporate sponsorship? Hello Fubu? 

How come you never heard of these groups? 
How come you're not out there demanding a 
spot for them... on Fox, perhaps? 

I'll tell you why. You're too busy protesting 
Rush. You're too busy worrying about how 
to LIMIT speech instead of expanding it for 

In Europe, most countries have a strong 

government-supported PUBLIC broadcasting 
system. This guarantees free speech across 
a wide spectrum of speakers. There is no 
tyranny of the market place on these stations. 
Marketplace be damned. But in the US, even the 
weak "Public" Broadcasting System is beholden 
to corporations to make ends meet. Anything 
they do is subject to the power' of consumers... 
and their manipulators. 

Am I against all boycotts? 

Of course not. If a store sells sweatshop 
clothes... or a cellphone maker uses exploitation 
factories... or a restaurant steals tips... or a farm 
or a factory exposes its workers to dangerous 
chemicals... I say, yeah! Boycott! But the boycott 
is a tool... like a hammer. You can use it to pound 
in a nail... or to hit someone over the head. 
Boycotts attacking speech are hitting someone 
over the head. You may enjoy seeing it... until 
the head thaf s hit is yours. 

ENDNOTES: [email subscribers or blog viewers (mykelsblog. will get live links and a chance 
to post comments on the column] 
— >lt's about time dept: Awhile ago, I wrote a 
column talking about how if s time to leave 
Hitler behind. How Hitler has become a meme, 
a cliche, and is used to justify the most horrible 
and inane actions. 

We can lock the Palestinians in ghettos... 
because of Hitler. Hitler was a vegetarian so you 
shouldn't be. We see pictures of Obama as Hitler 
on Tea Party posters. My Israeli pal, Naday, tells 
me the left in Israel dresses up Prime Ministers 
in gestapo uniforms- with little mustaches- to 
complain about them. 

ENOUGH ALREADY! Let's move on. 

Hitler has been dead for longer than 80% of 
the world has been alive. Get over it! That's what 
I said in the column. 

Recently, I saw a different way that we could 
kill Hitler once-and-for-all. Make him CAMP... 
like Che Guevara. That's the second best solution 
(after just forgetting him, or relegating him to 
the past... like Attila the Hun). 

CAMP is whaf s going on in Thailand. Colonel 
Sanders with a mustache and comb-over. Hello 
Kitty... Mickey Mouse with just-under-the-nose- 
mustaches. It's so extreme. I love it. It makes the 
guy FUNNY... KLTCH... IMPOTENT. I'll take 
that over a Hitler-faced Obama (or Netanyahu) 
any day. 

—>Could be good-bye dept: I started writing this 
before my African trip. I emailed it in from 
France. Right now there are riots in Senegal, 
exactly where I'll be going. There's always 
a chance I won't make it back. Up until the 
point of my demise, in any case, you can read 
my travel adventures' at: http://mykelsdiary. 

By the way, how much do you hear about 
Africa on TV in America? Fox... or CNN? Only if 
it affects "our" interests, then we hear something. 
Could we have some free speech about Chad? 
Don't get me started. 

—>Happened again dept: The Indiana Star reports 
that an anti-gay Republican representative, 
Phillip Hinkle, arranged to pay an 18-year 

old guy $140 for "a really good time" at an 
Indianapolis hotel. The two met on Craigslist, 
and Hinkle "exposed himself" to the guy. The 
politician has decided not to run for reelection. 

Actually, the most disturbing thing about 
this is how Tlie Indiana Star found the emails 
that set it up. They seem to be e-spying like 
in the Murdock papers. Nobody on the left is 
complaining though. They like the scandal too 
much... as long as if s THEM, not US. Fuck the 
rights of the accused. Right? He's on the OTHER 
side anyway. 

->Try it with the crescent and star dept: The Texas 
Department of Motor Vehicles has approved a 
license plate with three crosses and the words 
"One State Under God." on it. Somehow, the 
locals say, if s a free speech issue, though this is 
THE STATE speaking, not some individual like 
Rush Limbaugh. 

I hope others: Satanists and Muslims for 
starters... demand their own license plates. We'll 
see how far they get. 

->Tossing out the bad Apple? dept: For the past 
few months I've been ranting against the fashion 
that is Apple. Why hit it when so many other 
targets (like Wal-Mart) are so much easier, and 
maybe nastier? 

The answer, of course, is that the readers of 
this zine are likely to use Apple products and 
support all the associated evil. Now, it turns 
out, Apple might get Obama reelected. (Me? I'm 
voting for Rosanne Barr on the GREEN PARTY 
ticket!) . 

The Wall Street Journal reports that the recent 
economic upturn— and fine future projections- 
are lies, distorted by Apple. 

Says the Journal, Fourth-quarter earnings in the 
S&P 500 are up over 6.6 percent from the previous 
year. But if Apple's earnings are bracketed out, the 
gains shrivel to just 2.8 percent. 

If Obama wins on "the economy"... Apple 
did that too! 

—>Isn't Google a good company— just like Apple 
dept: This .Week Magazine reports that Google 
has been bypassing privacy settings to track 
the web habits of people using Apple's Safari 
browser. Google put cookies on the phones and 
computers of users, even if they said they don't 
want to be tracked. 

Google says it has halted the practice, but 
Microsoft charged that Google also circumvented 
privacy controls on their Internet Explorer... and 
still does. 

->Tough one to call dept: Church and State Magazine 
reports Oregon's ban on teachers wearing 
religious dress has been repealed. Civil rights 
groups had been fighting against the law, stating 
that it "denies equal employment opportunity to 
religious minorities." Christian crosses have long 
been allowed, but headscarves and turbans were 
banned. Sounds like a victory for free religious 
speech, right? -*■ 

Hold on: The problem is that the law's repeal 
could allow teachers to claim any attire as part of 
their religious exercise, including proselytizing pins 
and t-shirts. That could be a serious violation of 
church-state separation, and a toe in the door to 
allow teachers to preach to students. 

I dunno about this one, though I'm inclined to 


say, fuck it. If teachers want, they can wear their 
Wliat would Jesus do? pins. BUT, students have to 
be allowed to wear their equally religious Wlwt 
would GG do? pins in reply. 

Since the nice weather hit a month ago I 
have spent very little time concerning myself 
with much — the majority of the music I've been 
listening has no place in a punk mag, I've been 
reading rather voraciously, enjoying the scent 
of suburban pavement (skateboarding), playing 
in a band and writing shit completely unrelated 
to all this. Because of that, this column has got 
me caught with my dick between my legs, so 
to speak. Here's what I've come up with, a 
fragmented, shambolic mess of shit. En/'oy! 

First off, for some blatant localism — New 
York's got some real mean shit brewing. All sorts 
of good new records will be coming from the 
bands you already know, and who I listen to way 
too fucking often. You're gonna lose your mind 
maaaaaan. I drooled a bit about GOOSEBUMPS 
last month, they represent everything mean, 
malicious, and reckless about HC, they're live 
show is a sweating mutant swarm of arms, legs, 
glares, spit, blood, and bruises. Watch out for pool 
cues, boots, fists, and teeth — they'll getcha. Flyin' 
bodies too, punk. CHAIN WALLET have one of 
the funniest band names I've heard, they played 
their first show a few days ago, sounding tight 
as hell and violent. They cover "Pure Hate" and 
it makes perfect sense, there's your description. 
SAD BOYS are a hoppy Adderall twitch of 
studded screeching punk sounds. NUCLEAR 
SPRING are catchy as hell, they groove on the 
more melodic side of boot-wearing music with 
back up vocals and all that kind of advanced shit 
that your average John Brannon couldn't wrap 
his brain around. MURDERER is the opposite, 
a primitive, ugly bash of violent, malicious, and 
thuggish music. Gravelly tuneless riffs, thud-bap 
drum sounds, rabid vocals. Their band name is 
apt. There's more— you'll hear it all soon. 

Not exactly local but they play here all the 
fuckin' time, HOAX's new record (ignoring the 
obscenely superfluous nine dollar packaging) 
sounds mean. Don't let mom hear you listening 
to this, choir boy — she'll flush your tuition down 
the toilet and have you exorcised. Primitive, 
carnal hardcore musics for malice directed as 
openly inward as outward. They sound on the 
brink of explosion at all times, but keep the 
tension bubbling more often than not — the 
best test of a good HC band is if they can get 
sloooooow or keep it to a stomp and sound good: 
they pass. Throaty vocals, bulldozer gyration 
riffs, thuggish, rhythms — played by people who 

look anything but menacing until (for one) you 
put a microphone into his hand. 

The new USELESS EATERS LP (C'est Bon") is 
a schizo collage work of tunes that sound fittingly 
isolated for their origins. The songs move in any 
direction they please in terms of approach — 
cause the useless eater hasn't got any pesky band 
members to please. Anything from amphetamine 
punk blasts with jittery guitar work to acoustic 
guitared, sexually frustrated slow burners. It all 
meshes together quite well, dude's got style. 

The DAVILA 666 LP from last year has spent a 
lot of time rattling around my ears — the Spanish 
language sounds really fucking good drooled and 
sneered over low fidelity R'N'R (LOS SAICOS 
do it real nice too). "Eso Que Me Haces" has 
got a real sugary, primitive beauty to it — makes 
me smile. Not all the pasty, hedonistic garage 
stuff tickles me alive but it's got great appeal 
when done right. The flagellating masochism 
and irrationality of hardcore agitation can grow 
tiresome. Communicating with other creatures 
becomes a cumbersome, stifled experience. 
I first heard the loud guitars and hallucinogenic 
adrenalin of THEE OH SEES while cruising 
down a freeway in the suburbs in a convertible 
with a clear night sky and four other goobers 
in the car — it was the perfect introduction. I've 
spent a lot of time with their latest LP offering, 
it's got the perfect mix of cockeyed psychedelia 
and experimentalism into simple, loud guitar 
injected R'N'R, sounding more of its time (in the 
way that makes it much more relatable than a 
stack of Nuggets LPs) than most bands. I don't 
know what ludicrous thoughts harvest in their 
minds (two drummers?) but they are doing 
something incredibly incredibly right. 

I got an interview with RANK/ XEROX, a 
jarred, nervous sounding punk band from the 
same land that spawned THEE OH SEES (and 
FLIPPER). They sound distinctly urban, and 
markedly nauseous about the whole thing. 
Bleak, stimulating shit, another band who 
sounds individual and of their own time — fresh, 
evocative and moving, like the other worthwhile 
bands who practice the sacred rituals of making 
visceral sound waves. I'll print it soon in Accept 
the Darkness. 

The KIM PHUC Copsucker LP sounds like '90s 
alternative rock, I was heavily disappointed 
with this. '90s Alternative Rock sounds terrible. 
From the title of the record I was excitedly 
anticipating something much more obnoxious, 
confrontational, or even distinct. This sounds 
industrial like school children are industrialized, 
not in the good way like how DIET COKEHEADS 
sound like a recording of industrial machinery 
fighting. The new LP from Buffalo's PLATES 
delivers something much more desirable, more 
like what I foolishly anticipated to be in the 
grooves of Copsucker. Meaty, antisocial and primal 
sounding shit — real loud and bugged out. 

BAD NOIDS sound like the HlOO's if they were 
middle schoolers who habitually masturbate 
under their school desks, rather than cough 
syrup chugging, cinder block throwing lunatics. 
VIOLENT FUTURE sound like the United Blood 
to URBAN BLIGHT'S Victim in Pain (wow that 
was a fucking lame thing to write). Their demo 

sounds raw, dumb, and primitive — good shit. 
The drumming is desperately inept in all the right 

I'm out of steam and music that I'm able to 
string together some words on, so (as always) sell 
me your first REPOS 12": 

An Introduction 

If s been a long time since we had a columnist 
here at Maximum that gave two shits about pop 
punk. MRR has traditionally been pretty hostile 
grounds for the pop out there — the reviews, 
the regularity of interviews, and especially the 
columnists. In fact the only two columnists I can 
remember who are equitable to the genre are Ben 
Weasel and Larry Livermore, and both of those 
guys are total turds. Hopefully I won't continue the 
tradition with my column dedicated to covering 
the ugly/ awesome world of pop. 

Well, maybe dedicated is the wrong word. If d 
be more accurate to say this column is casually 
focused on pop punk, or at least interested in it. 
Interested is not exactly how I'd describe most MRR 
shitworkers, in relation to the genre. Disinterested, 
annoyed, or spiteful-towards are terms a bit closer 
to the mark. Which is a shame cause there is a lot 
of really great pop punk music being created right 
now, and it doesn't get a lot of finger ink in these 

Granted, there is an enormous amount of 
horrifically bad pop punk music out there right 
now (especially since Kiss Of Death started putting 
out records on a weekly basis). And bad pop punk 
is waaaaaaay more annoying than bad punk from 
other genres, with the exception of Emo or maybe 
Oi. Wait no, definitely Oi. The BUSINESS is totally 
more annoying than even the worst Mutant Pop 

What I'm getting at is, I can understand why 
MRR shitworkers hate the poppy stuff. There's a 
lot to hate, and MRR tends to attract people who 
predominantly like hardcore. If your enthusiasm 
lays outside of hardcore, you're usually not so 
dfawn in by MRR's glowing light. But every 
once in a while there is; some kid with a TOYS 
THAT KILL backpatch who starts volunteering 
and eventually writing for us. And I always get 
super excited like "Oh awesome, a new pop punk 
kid. Finally someone who will write enthusiastic 
reviews!" And for the first few months they do, 
and it rules. But it always happens; the dregs of the 
genre take their toll. And sure enough by month 
number four or five they lazily compare every 
or Fat Wreck Chords. They make references to the 
band "probably wanting to be on Warped Tour," 
and reviews rarely exceed three sentences. If s like 
all these people who come into MRR loving pop 


punk leave with only liking bands that sound like 

So is it that bad pop punk is so soul-crushing 
that it totally destroys the youthful enthusiasm of 
any young punk forced to write about it? Or could 
it be that MRR opens your mind to all kinds of new 
music you didn't even know you liked? Personally, 
I think bad pop punk is that soul-crushing. And 
for several reasons: first and foremost because in 
general terms, those quirky pop punk "dudes" 
are the most annoying dudes. No other genre (of 
punk) has so many failed "funny" songs. Sure 
DESCENDENTS were able to do it, but they wrote 
two of the best albums of all time, and that buys a 
lot of clout. If your not the DESCENDENTS first 
write your Milo Goes to College, then write songs 
about farts or Spiderman or whatever not-funny 
thing you feel like singing about. 

Another thing about pop punk that makes us so 
jaded is how unoriginal 95% of it is. Nobody copies 
their favorite bands as blatantly as this genre. You 
could literally fill Madison Square Garden with 
bands trying to be JAWBREAKER. Even modest 
amounts of creative new ideas are incredibly rare. 

And don't even get me started on the lyrics! 
Thaf s the fucking worst! Finding any body under 
30 who can write awesome lyrics is rare. And finding 
someone who can write important lyrics is next to 
impossible. Most just stick to. two styles. 1) "The 
ERGS style" whe're songs are about heartthrobs, 
heartaches, or some type of anxiety interfering 
with social life, (side note - 1 like the ERGS), or 2) 
"The TILTWHEEL style" where songs glamorize 
abusing alcohol and being a slob (side note — I also 

The list goes on, but before I get too carried 
away, I should point out the one hole in my theory. 
Which is of course Razorcake. The writers over 
there aren't crushed at all. In fact the opposite! 
They listen to pop punk all day and somehow still 
have the enthusiasm to compare a TOO MANY 
DAVES album to an ice cream sundae. Do they 
have a saint-like amount of patience or some type 
of coping mechanism? I don't know, but maybe I'll 
do some investigating. 

Anyway, despite its misgivings, there are at 
least a few totally awesome pop records that come 
out every month. And starting next month I'll start 
writing about them. And I'll probably write about 
some bad records too, cause talking shit about 
awful records is a lot more rewarding than just 
screaming into a pillow (or the other less healthy 
ways I deal with personal anguish). I might also 
write about shows, tapes, zines, or whatever other 
dumb shit thaf s on my mind. Hopefully I'll last 
longer than four or five months. 

If you wanna get in touch for any reason I can 
be reached at Fred Schrunk PO Box 460207 San 
Francisco CA 94146. 



Hey Maximum. I'm having this weird thing 
where I've been working in small, cool bookstores 
for a really long time, but then I moved to this town 
and started working in a small, cool bookstore 
where the owners never communicate anything 
with each other or their employees. Have you 
ever been in a shitty relationship that went on 
way too long so you started, like, believing even 
more strongly in the relationship, just because you 
were in it and you kind of felt like you had to? I 
had that kind of a relationship with this bookstore 
for about a year, I was like, "why do I feel fucked 
up all the time?" It sucked, because, thanks to 
politicians and war, there weren't any other jobs 
around, and because I'm a nerd, I have this great 
resume for working in bookstores that doesn't 
really qualify me for anything else. I couldn't 

So I ended up sticking around at that job until 
miraculously I spotted a help wanted sign in the 
window of an Indian restaurant a couple blocks 
away. "Perfect," I thought. "A job where you get 
money and Indian food." Long story short though, 
the Indian restaurant was only pretending to hire 
me, the owner threw away my scarf when I forgot 
it there, and they only told me I wasn't hired 
after I had already quit my job at the bookstore. 
Meaning: now I am unemplooooyed as heeeeelllll. 

Maybe you are good at being unemployed? I 
am not. I panic and panic and panic and drop off 
resume after resume after resume and obsessively 
think about the sixty dollars in my savings 
account and the forty dollars in my checking 
account spiraling toward zero. Then I panic, and 
only eat beans and rice and kale, so my body 
starts to rebel, which leads to more panic, until all 
I can do is get stoned on other people's holistic 
medicine pot tincture and play Mario 64 and cry 
in violent, scary and jagged outbursts. The whole 
time my dog looks at me like "Imogen you don't 
even like being stoned." 

I know, babe. 

So anyway, I don't know. Johnny Crimethinc 
is like "shoplift and squat a boat!" but I fuckin' 
suck at those things and also I have the kind of 
body that needs medication to continue to exist 
in the world. (A few different ones, actually. 
Have you ever tried trazadone? Dude. Turns out 
there is nothing in the world like sleeping — I had 
no idea.) They don't give free samples of any of 
the things I take which means that while I was 
watch my riches dwindle, I also have to watch my 
stash of legal /prescribed, semi-legal /mooched, 
and, y'know, illegal drugs dwindle. It sucks, but 
whatever, everything sucks. 

So I went into a temp agency today. I was like 
"Hey I know you said you don't have anything 
right now but can I just check in" and the woman 
behind the desk was like "actually we have a 
mailroom spot at an insurance company, do you 
want to take some tests?" I was like "Fuck yes I 
want to take some tests." 

So I took a data entry test. I totally killed it, too- 
I don't want to brag about my data entry skills 
or anything but even though one whole entry got 
totally skipped because of a mysterious shift + tab 
interaction, I still scored "exceptional." (Alex is 
super into Die Hard, and every time Bruce Willis 
does something exceptional in Die Hard, she yells 

"EXCEPTIONAL!" It's something about the 
construction of masculinity in American culture 
or something, I dunno. She knows things about 
sociology. My point here is that I am the dyke 
Bruce Willis of imaginary data entry. Wait actually 
I think Alex is into John Cusack being exceptional 
in that movie 2012? I guess my point stands.) So 
I guess I am probably going to get a temp job 
in the mail room of some insurance company 
somewhere, that'll be cool. I keep imagining 
some dude, a caricature of a parent or teacher 
from a Twisted Sister video, being like "you can't 
have face piercings here, and also cover up those 
tattoos," and me responding like "oh yeah you 
can't have that face here! And cover up that gaping 
wound" as I pull off his face and skin. I guess I 
get kind of aggressive when I'm stressed about 

Anyway, part of the point of telling this story 
is that when I was younger I used to frame being 
broke as this cool thing that's okay, like we should 
all just be able to hop on a train and dumpster all 
our food and stuff. But if s not a coincidence that 
this was back when I could ask my parents for 
money for jeans, and I was still covered on my 
dad's insurance plan. I mean I am still totally on 
board for hopping trains and dumpstering bread, 
but if you rely on medication to live, or if you're 
not 100% able-bodied — or if you can't count on 
the police not to arrest you for no reason — then I 
think you kinda need money. I mean fuck money 
and destroy capitalism and stuff, don't get me 
wrong, but also, as far as I know, nobody's making 
anti-capitalist medication. (That is kind of a good 
idea, actually...) 

But also I'm not just trying to be like "here 
are the reasons why it's okay for me to be down 
with capitalism," because, to be clear, I'm totally 
implicated here and even lucky and privileged. 
If I hadn't grown up with computers, if I hadn't 
been offered a nepotistic job in insurance when I 
was eighteen where I learned to use the number 
pad thing that's shaped like a square all the way 
on the right of the computer keyboard — if I didn't 
have constant access to computers and all that 
stuff — I wouldn't have been able to grow up and 
be the lezzie Bruce Willis of imaginary data entry. 
You know? I really doubt that having white skin 
was a strike against me when I strolled in looking 
for a shitty job and got told about one right away. 
- I guess my point, like it always is, is that shit is 
complicated and weird. There's a Tin Tree Factory 
song that goes, "it's times like these that I wish for 
the wisdom of an anti-racist activist who knows 
just what they're doing." 'Cause I sure don't 
know what I'm doing, or how to talk about any of 
this stuff beyond, like, "I sure am lucky, but I also 
sure am totally fucked." 

I don't know. If you've figured it out, email 

3J0 549 


This is the last column I will write in this spot; 
the coordinator columns always go at the end 
of the columns section, put in at the last minute 
after a month of working on the magazine, a 
collection of hurried thoughts congealed into 
words by tired brains, usually at 3am, before the 
mag goes to the printer... And as of May 1st 2012 1 
am no longer coordinator of Maximum Rocknroll. 
I have been doing this for four years, I think 
writing my column for six? And it's time for a 
new regime; this next month I will be training 
our new content coordinator Lydia, who just got 
here from Greece, and it feels like it's the end an 
era. I will not be in charge of Maximum Rocknroll 
from here on out! If s all in Mariam and Lydia's 
hands. I am looking forward to seeing what sort 
of things they come up with to fill these pages 
and I will still contribute to the magazine, but just 
as a shitworker, no longer as the dark overlord of 
content production. Listening to Martin Hannett 
"First Aspect of the Same Thing" looking out 
my window at the street lights reflecting on 
the ocean, if s a weird empty feeling but I am 
looking forward to a future I know nothing about 

Today at work a kid with an amazing hand- 
drawn Minor Threat t-shirt came in and when I 
commented on his handiwork told me he liked 
my column. Another person bought the Touch 
& Go book but I didn't feel like talking about 
it; I did talk with some enthusiastic art school 
kids from the Deptford about squatting in 
Camberwell. Camberwell Now. I am listening to 
the song "Working Nights" by Camberwell Now 
as a result, experiencing the subject matter as 
the song plays, working nights working nights. 
Gotta get up at zero AM and ride my bike out 
through the park to MRR, lay out the columns 
and upload the proof to the printer then go the 
North Beach to my job that pays the rent (in 
theory), and serve a different kind of public. "Do 
you have Fifty Shades of Grey/the Hunger Games/ 
That Book About Steve Jobs'!" "No. But you can 
get it at Costco." "Is there a Barnes and Noble or 
something around here?!?!" "NO, they all went 
out of business in this city because people like 
you only buy things online." "There aren't any 
bookstores in this town!" "There are actually a 
ton, just none in Fisherman's Wharf, tourist. 
May I borrow your concealed weapon and blow 
my brains out? I am sick of talking to you and 
your endless army." I will listen to Camberwell 
Now and Martin Hannett all day, subsist on Ritz 
crackers and bad vibes. Just those two songs. 
Over and over. And the New Order Peel Session 
where they play dub versions, the first one. "Turn 
the heater off... tonight." 

Usually when I am having the 2am inspiration 
dried out column writing session, I write about 
shows I have gone to or bands I am obsessed 
with. Well, the only show I went to this month 
was Merchandise, which for everyone I went 
with seemed to be a total bust, but I had a good 
time! It made me think of looseness of Arthur 
Russell songs, secret worlds created. I listened 
to the first Merchandise LP on repeat for most 
of last year, and when the D Vassalotti LP came 
out, though MRR could not review it I put it on 
almost every day for a month whilst spending 

the minimal time you get to spend in your room 
as a MRR coordinator. (Living where you work 
is not very conducive to mooching around in 
your room if you are an obsessive workaholic 
type... which is what the magazine demands!) 
I was not into raging hard before I moved into 
the MRR house, and my life continued on the 
trajectory of not going to DJ nights, or twelve 
band shows at houses in Oakland that probably 
have no chance of finishing before the last 
BART heads back over to San Francisco, and 
I have a feeling that this arc will continue. As 
stated previously I will continue to write for 
the magazine, and to come up with content — 
which incidentally you should too. Anyone 
can submit an interview! Anyone! Seriously, 
interview your friend's band, or someone that 
has influenced you that you are not friends 
with that is a punk... I think the first interview 
I submitted was with Sharon Cheslow, who was 
one of the photographers /authors behind the 
classic Banned in DC, and I actually did it for my 
zine Chimps but it came out so cool I submitted 
it to the magazine. If you think the editing is 
shitty write the 
and volunteer your services as a proof reader, 
same with layout. If you want to advertise your 
punk CD-R distribution network email ads@ for rates. If you are an 
insane genius comic artist who is somewhere 
between Julie Doucet, Pettibon and Nick Blinko 
submit your work to mrr@maximumrocknroll. 
com. The content coordinators are the deciders in 
terms of what gets run in the magazine, as their 
job title would indicate, so there is no guarantee 
your interview with Stig and the Skip Diggers 
will run, but if Mariam and Lydia are charmed 
by the band's witty quips, even though they have 
never heard them as they have never played 
outside of Romford, but they are of course DIY 
as death, (no corporate bozos in the mag) maybe 
they will choose will run it. So send it in already! 
Did I already write about how much our new 
distro coordinator rules!? Francesca moved in a 
month or so ago, and she is the best. Negative 
and charming like all the best punx are, always 
busting out weird secret girl records, like for 
instance the Fifth Column record that came out 
in 1990, an LP that has songs that go between 
NeoBoys and Shop Assistants! It's so good! Who 
knew that "All Women Are Bitches" was just a 
random blip of boredom on that band's career 
trail. She made me a tape of all the jams. And 
that Florida 7" comp with Morbid Opera on it 
that someone put on a mix tape for me years ago 
but I never knew who the band was. "Go ahead! 
Go ahead Go Aheeeeeaaaaaaaaaaah...." 

OK, so it's 5am, the sun is risen and I need 
more coffee. I am listening to the Termites version 
of "Tell Me" from Girls in the Garage. If s so good, 
teenage desperation, desolate like alleyways and 
it makes me wanna listen to Frumpies 7"s and 
eat popcorn for dinner. Also did you know that 
"Why Don't You Smile Now" wasn't a Delmonas 
song? It's a Cale/Reed collaboration from when 
they were more Tin Pan Alley attempters. I 
learned this fact that maybe the whole world 
knows within the last two years: "You said you 
had everything you need / You said he could give 

you much more than me / Why don't you smile 
now..." You can look it up on You Tube, by the 
All Night Workers, this is my song this morning. 
Also listen to the Delmonas version because Black 
Ludella, she's been lyin to me... There used to be 
a record store in Camden that pretty much only 
sold Vinyl Japan/ Hangman related records, it 
was next to a store that sold Doctor Martin boots 
and other workboots to skinhead types, actually 
inside the Camden Lock tube station, so me and 
all my teenage cohorts had all the Headcoatees/ 
Childish access needed to develop our minds as 
youths and head towards delinquency as creation 
rather than any other existence offered to teenage 
girls growing up in London in the early 1990s. 
I wanna be a Delmona when I grow up. OK I 
think that's enough of my rambling insanity 
for this month. I will be back writing columns 
in this space, but if you want to you can email 
me at my old 
columns are here: whatwewantisfree.blogspot. 
com and I think I am gonna compile them all into 
one fanzine type of thing at some point this year. 
Make a mess. 

Brace said I should do this column as a top ten 
thing like I used to, so here is something: 1: Chloe 
Sevigny owns the jacket that Linda Manz wore 
in Out of the BlueM 2: 1 am the last punk 3: 1 like 
the Beach Boys better than Discharge /the D-beat 
4: Eat it 5: "Notes and Chords Mean Nothing to 
Me" / "We Don't Need Freedom" 6: Mariam, 
Francesca and me are gonna go to Berkeley when 
all the rich college kids abandon ship for their 
country homes and get all the computers and 
things they apparently leave behind. (Francesca 
has an powerbook some future billionaire of 
America left in a dumpster last year! College 
kids, what the fuck! CAN YOU EVEN imagine 
being that privileged that you would throw your 
thousand dollar computer into a dumpster?! My 
computer is gonna be ten years old this year! I 
want a free one from some trillionaire frat brat) 
7: Hey Tobi did the Up All Nighters ever record 
anything!? 8: The Torrura tape is really good- 
London punk girls righting wrongs. 9: Someone 
send me the Quix*o*tic LP and the Cupid Car 
Club demo tape OK!? also write me letters. No - 
All girls start bands and skate gangs. 


mariam bastani 

Hey everybody! I don't know if you all know 
this but here at MRR we don't get paid. That's 
right! This is no high rollin' job with a company 
car or 401 K We live hand to mouth, but it rules! 
The three coordinators (two content and the 
distro coord, all of us running this beast) have 
other jobs. Coords of the past have had jobs at 
book warehouses, video stores, bookstores, 


Amoeba records... some sort of warehouse or 
dreaded retail job. I personally am a server by 
day, punk overlord by night. The restaurant I 
work for is a pretty well known place here in SF, 
it has been on TV and in travel books, so it's a 
busy place, which is nice because it definitely 
appeals to a different part of my personality than 
Maximum does. Here at the compound I mostly 
sit behind a computer, edit, listen to records, 
read, talk to other punks — at my serving job I 
on my feet, have to constantly multitask and 
think quickly, deal with all sorts of people. Some 
people really approach having to have another 
job as a necessary evil, but honestly it's pretty 
nice break away from MRR to do something that 
is not immersed in punk because when it comes 
down to it, punks take punk every where they 
go. It is a part of us and it is absolutely a part of 
the lens we see the world through. 

With that said, I am lucky because having 
my main job being MRR means that I don't 
have to give too much of a fuck at this other job. 
Don't get me wrong, I want to do everything I 
do well, nothing half assed, but being in the 
service industry can be taxing if ypu actually 
take it seriously. If s true that customers are often 
aggravating and that it can be very demeaning 
to "serve" someone, but overall this job is pretty 
funny. Everyone in the service industry has an 
inner voice and external voice, you see. So while 
you are asking someone for another glass of 
water after their third trip in a row to your table 
to deliver splenda, extra napkins and the first 
glass of water that started this journey glass, we 
are actually thinking, "How does a person this 
high maintenance ever get laid?" 

I am, not surprisingly, the only punk that 
works at this place. I am pretty open about 
my job at MRR because of scheduling, but also 
because the people I work with aren't shitty 
norms that you would find in a shitty office job. 
My bosses are cool and so are the majority of the 
people who I work with. We are all a little crazy 
to be working ten-hour shifts on our feet serving 
brunch to a bunch of people who indeed wait 
two hours in the rain to eat. Weird. 

A lot of peopie who come to the place on 
the weekends are tourists or people who watch 
a lot of TV. They will say, "I saw you on TV!" 
Internal voice, "Don't give a fuck..." external 
voice, "How exciting!" So really what you. have 
here are average white families from places like 
the suburbs of Phoenix or some where in middle 
American Midwest — socks pulled up, camera 
around the neck, map in hand which in my 
old neck of the woods is a seen as a bright red 
neon light flashing, "Rob me, please!" Anyway, 
the neighborhood I work in is known as the 
Tenderloin, which is SRO, prostitution, strip 
club and drug dealing territory. SF is a small and 
packed place so the next block over depending 
on which direction you go is more of the same 
or the financial district or government buildings. 
In my place of work it's not uncommon to see 
a DEA agent eating next to a pill dealer, but 
how different are they from one another really? 
Ponder that philosophical question later... 

Anyway, last Sunday during horrendous 
brunch service (459 covers for you other 

hospitality people!) a family from Ohio came 
in, pasty white with their translucent children 
all wearing high-waisted elastic pastel shorts 
and tube socks — A family of Christian dorks 
on holiday in San Francisco. How do I know 
they are from Ohio? The middle-aged, plain 
mother had an "Ohio" shirt on and the dad had 
an "Ohio" baseball cap. Jesus Christ... These 
people always wear too little thinking that all 
of California is Huntington Beach and everyone 
is wearing swimsuits and talking about surfing 
and shit. SF is fucking cold. So this freezing pasty 
family wait about an hour and a half to eat and 
are seated in front of the large window in front 
of the restaurant. As I make my way to them I 
notice that the crowd in front of the restaurant 
that had been clogging the window has seemed 
to have dispersed. As I approach I see this barely 
clothed woman, obviously tweaked the fuck out 
of her mind, dancing to the soul music that is 
piped outside from the dining room. She is on 
her knees on the bench in front of the window 
and doing some sort of Vegas showgirl routine 
that seems to be actually rather well rehearsed. 
She is wearing some pink cotton underwear that 
is very visible due to the length of her stretchy 
dress. I get the family's drink order. By this time, 
my manager has gone outside to tell the dancing 
lady that she is going to have to leave. I can't 
hear what is being said, but she is obviously not 
going anywhere. What people might not know is 
that, in my experience, the "sketchy" people in 
SF aren't usually threatening or aggressive. Most 
of the time, if you ask people to leave or stop 
bugging you, they will. But this lady had other 

As I am preparing the pasty family their 
drinks, my manager comes over looking a little 
flustered and sighs, "I don't want to call the 
cops..." he says. Even though I work with non- 
punks, we definitely all hate the pigs. "I'll talk to 
her after I drop these drinks," I tell him. I carry 
the drinks over to pasty family. As I place the final 
soda on the table I see that the dancing woman in 
the window has put a suitcase that she with her 
on the bench and has pulled out a bottle of baby 
oil. "Do you have any questions? Are you ready 
to order?" I ask, book open to write their order, 
pen poised... They all have their heads down in 
their menus, intensely reading and looking a little 
intimidated. By this time the dancing woman is 
squeezing baby oil in her hair. She is rubbing in 
the oil as the people waiting to eat are trying to 
ignore her. By this time the whole dining room is 
watching her as she uses the giant front window 
as her personal bedroom mirror. Pasty family is 
so intensely reading the menu that they haven't 
noticed the woman in front of the window. "We 
aren't from around here. . ." says the Dad. Internal 
voice, "No shit." External voice, "Welcome to San 
Francisco." "Why thank you! We are from Ohio!" 
Internal voice, "Oh my god..." External voice, 
"Really!?" "Can you recommend something that 
we couldn't experience in Ohio?!" says the Mom. 
I raise my eyebrows, smile and instinctively 
point to the window with my pen. The whole 
family turns to see the dancing woman with the 
top of her dress down around her shoulders as 
she is oiling her nipples in the window. 

I didn't think it could happen but pasty family 
actually became a shade lighter. A big angry vein 
appeared on Dad's forehead, Mom turned bright 
red as the two teenagers stared in what I really 
think was innocent wonder, but what the hell do 
I know about what happens when these kids are 
on the internet or at their church youth group. The 
family falls silent. I can feel their embarrassment 
coming off them in waves, mouths ajar with only 
a pane of glass between the two feet separating 
their faces and oily nipples. I repeat, "Welcome 
to San Francisco." 

I walk out the door to talk, to the woman who 
by this time has smashed her oily breasts on 
the window. She knows I am gonna ask her to 
leave so she pulls her dress back on and kicks her 
shoes off into the street. I quietly ask her to move 
it along and say,. "Look, I don't care that you are 
here, but someone out here or inside will call the 
cops, because breasts are threatening to men no 
matter who your are..." She laughs. She gathers 
up he stuff, gives me a hug and screams, "Have 
a bangin' breakfast everybody!" and moves on. 
The only indication she has been there are her 
shoes in the street and an oily boob print on the 
window. Needless to say, I waited to clean the 
window until the pasty Ohio family finished 
their meal. Watching them eat in silence, heads 
hanged in shame with the looming reminder that 
the world is a fucked up place was all the job 
satisfaction I could want. 

There was the time when a guy came in with a 
giant boner. It was a Monday during a lunch rush 
and the place was pact with mostly office people 
from the surrounding government building and 
courts around. People stopped eating and stared. 
IN know what their internal voices were saying, 
"Is that a...? Is he? Really?" Being a woman 
and having lived in Chicago makes me no 
stranger to the public hard on phenomenon. My 
internal voice, "i..the fuck? Did this guy get up 
and decide to take his boner on a brunch date? 
Fucking clown..." The whole front of house is 
mostly women, so this guy had no illusions about 
who was witness to his stiffy... actually the dude 
was packing damage and wearing some rather 
revealing pants that actually made a little "tent" 
when he sat down. All of the staff (haha. . ."staff") 
was pretty scandalized, "What do we do? Do 
we call the cops?" Before anyone could make a 
move, I walked up to what's-his-dick. He turned 
on hit stool away from to counter to present his 
wang. I said," Good Morning, would you like 
come coffee with your boner?" 

His face shrank, as did his boner, as I stood 
there. I have been flashed and jerked off in front 
of enough to know that most of the time these 
dudes want you to be afraid or appalled at their 
wiener. Anyway, what's-his-dick said began to 
stammer a little but before he could "give me 
his order," I told him to take his dick outside... 
or else. Despondent, he slid off the stool and left 
the restaurant with his head and dick down. 

I used to wear my regular clothes to work, as 
in jeans and a punk band T-shirt, but that ended 
quickly after fat tourists from Iowa could ask 
me stupid questions like, "Ru...Rutt-o, Rutto! Is 
that your name?" Internal voice: "Who the fuck 
wears shirts with their names on them, lady? 


What the fuck is wrong with you?" External 
voice, "No ma'am, my name is not Rutto." After 
about 50 experiences like that, I always wear my 
work drag. Plain clothing that has no indication 
of what I am into, except for a leather belt that 
has "Motorhead" burned into it and a Venom 
belt buckle, which is often concealed by my 
apron. When punks come in it's pretty awesome 
to walk up to a beefy dude wearing a Skarhead 
basketball jersey and shoot the shit with him 
about NYHC. I can see his mind melt thinking, 
"How does that chick know who 25 Ta Life is 
anyway?" I don't mention anything about being 
the MRR coord, or that I have any ties to punk 
besides the obvious, because even at work, what 
we do is secret, but that doesn't mean that I can 
turn it off and on. Punk por vida, motherfuckers! 
If s funny because sometimes we feel each other 
out. A customer is in work drag as well, but we 
seem to find each other... it's a good feeling. It's 
part of why I could never be anything else. . . 

Alright, this fucking column is too long already. 
So, we have a new coordinator named Lydia 
Athanasopoulou, a new partner in crime with 
me, from Athens Greece. She rules hard, but you 
will all learn to see that... Layla is now officially 
"off the clock" as she pursues her lucrative career 
in hanging out. I will miss working with her and 
her being around all the time to bother me. What 
you guys have to understand is that it's a pretty 
crazy situation that you get thrown in when you 
become a coordinator over here. You are expected 
to move into a house with a bunch of people you 

don't know, which many of us have done, but 
imagine having to live and work with them? I 
admit that I haven't been easy to live with. . .1 am 
stubborn, I have a lot of late night stupidly loud 
fuck downs, I hate taking out the garbage and 
when I come home drunk I like to drag out Tim 
Yo's Love records. Layla put up with me and I 
never expected that she and I would become the 
BFFs that we are. For better or worse, I am at the 
helm of this beast. I am gonna make mistakes, 
always do, but seeing as how I love punk and 
seeing as how I don't give a fuck, this is gonna 
work out just fine. I have Lydia and Francesca, 
pint sized powerhouse distro coordinator by my 
side. Hellion wild haired Valkyries riding into 
the battle. Dramatic? Yes... But that is how I feel 


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News Compiled by Donny and Layla 

By Dan Lactose/Stinkweed image by Tony 

Kindred McCune aka Stinkweed Malone has 
left our planet. Took the warp triple six Doom 
Ryde straight through our galaxy. Stinkweed 
was best known to punx, thrashers, vandals 
and dank smokers as a founding member 
of the pioneering Redwood City, CA 
political grindcore unit, Plutocracy. He was 
also a founding member and leader of the 
long running Redwood City hip hop group 
Shed Dwellaz. Stinkweed was born in San 
Francisco and grew up on Army Street. He 
told me he first witnessed punk rock at the 
legendary Farm. Bands were playing, punks 
were thrashing and he was breakdancing. 


"I won't conform to the norm so I perform 
in the orange," he wrote. Plutocracy 
took grindcore in directions no one else 
had attempted, blending Black Panther 
speeches with blast beats and MC Pooh. 
It took a certain type of person to "get" it. 
Kindred and Thomas' twin guitars had a 
unique and abstract sound. 

At the time, I lived in Redwood City, was in a 
crappy punk band, made zines and bounght 
Earache records at Tower. I met Thomas 
at school, he tells me he plays in a band 
called Plutocracy, gives me the Progress 
demo and I'm blown away. I became a huge 
fan of everything these guys did from that 
point forward. When Plutocracy broke up, 
No Le$$ twisted wigs back even further! 
Electric Jungle Violence slid Sabbath style 
jams into grind riffs while obscure samples 
popped in and out. The live shows were 
drunken and dangerous. Stinkweed started 
the West Bay Koalition and dubbed himself 
El Presidente. He was constantly creating. 
He was in so many bandsr Agents of Satan, 
Go Like This, Kalmex & The Riff Merchants, 
Bullshit Excuse, Shadow People, Apeshit, 
United Sicko Foundation, Torture Unit, the 
list goes on. 

There was a six hour radio show on 
KZSU called the West Bay Radio Station 
Hostage Situation in which he was in every 
band. I was honored to 
be a part of the Shed 
Dwellaz with him. I told 
him I could DJ and he 
got me a sampler so 
I could make beats. 
Together we recorded 
hundreds of songs on 
4-track. I learned so 
much about how to 
create music both from 
him and with him. He 
taught me to be myself 
and not worry about 
what others would 
think. If you liked what 
you were doing, then 
do it. He hated "kritiks." 
And COPS. Fuck, he 
hated cops. 

From the way he 
strung his guitar strings 

backwards to his shower cap and pajama 
stage attire, Stinkweed did it his way. He 
didn't have a computer or go on message 
boards or give a shit about what anyone else 
thought was cool, he was on his own trip. 
Whether he was writing a riff or a sixteen 
or texting bandmates to schedule a jam, 
his mind was constantly on music. The guy 
was the most original person I've ever met 
in my life. Larger than life, LOUDER than life. 
If you ever hung out with him, you walked 
away with a story. Right before his death he 
was working on new material with Agents of 
Satan. He was recording raps and talking 
about starting a new West Bay Doom Ryderz 
band. He planned to release a compilation 
next year and was trying to compile all of 
the tracks for it. He was working with Pelon 
from Immortal Fate on the release of a 1992 
live session of Plutocracy and Immortal fate 
on KZSU. The world will be a lot different 
without his demonic harmonics. Launch a 
hog leg and puff tuff for Mr. Stinkweed. 
Donations on behalf of Kindred McCune 
can be made to: Redwood City Education 
Foundation, PO Box 3046, Redwood City, 
CA 94064. RCEF provides music education 
to all students in Redwood City - grades 2 
to 8 

NEWS --* 


by Levi Rickert for Native Challenges 
March 6, 2012 

Five Lakota were arrested in the evening 
of March 5 in Wanblee, South Dakota, when 
they formed a blockade to halt a convoy of 
trucks going through the Pine Ridge Indian 

At issue was two trucks that appeared to 
be hauling pipes through the reservation on 
their way to Canada. The new trucks that were 
delivered in Texas from South Korea were 
carrying pipes used for the tar sands pipeline. 
Totran Transportation Services, Inc., a Canadian 
company, apparently wanted to avoid paying 
the state of South Dakota $50,000 per truck 
or $100,000 to use its state highways. Instead, 
Totran thought they would use the roads on the 

Some 75 Lakota thought otherwise. 

The two trucks marked "oversize load" 
on them had in their convoy several pick- 
up vehicles that were first spotted on the 
reservation in the late afternoon. Once alerted 

about the convoy and its whereabouts, Alex 
and Debra White Plume decided to go and 
stop it. They were joined by others who formed 
a human blockade and halted the trucks. The 
White Plumes were told by the truckers that 
they had corporate authority to utilize the BIA 
roads. "There are actually a number of laws that 
should protect Indian tribes from those who cite 
corporate authority," said Charlotte Black Elk, a 
well-known attorney activist from Manderson, 
South Dakota. 

"I told them nicely we did not want any 
trouble," Alex White Plume told the Native 
News Network late Monday night. "But we were 
determined not to let them use our roads. The 
chief of police for the tribe told me that he was 
told that the FBI was prepared to arrest me and 
pick me up and take me to jail in two white vans." 
Alex and Debra White Plume, Sam Long Black 
Cat, and Andrew and Terrel Ironshells were 
arrested and charged with disorderly conduct 
and taken to jail in Kyle, South Dakota. Several 
reports on social media reported that Tom Poor 

Bear, vice president of the Oglala Sioux Tribe 
was arrested. This proved to be not true. 
The five arrested were released on personal 
recognizance. "I was the voice for my 
grandchildren," said an exhausted Debra White 
Plume from home after being released from jail. 
White Plume was also arrested last summer in 
front of the White House while protesting the 
Keystone XL pipeline. 

The Oglala Nation and all American Indian 
tribes in South Dakota have adamantly 
opposed the Keystone XL pipeline that was 
routed through the Pine Ridge and Rosebud 
Indian Reservations and would cross the Oglala 
Sioux Rural Water Supply System in two places. 
Late March 5, it was reported the Eagle Butte 
Indian Tribal Council met to decide to form a 
human blockade on their reservations if the 
Totran convoy attempts to come through their 
reservation which is north of the Pine Ridge 
Indian Reservation. 


from Sundiata Acoli Freedom Campaign 

Attorney Bruce Afran's appeal of 
Sundiata Acoli's parole-denial and ten- 
year sentence-extension resulted in the 
New Jersey Appellate Court's remand to 
the New Jersey Parole Board that its ten 
year hit be cut to two years. It was done, 
and Sundiata has become immediately 
eligible for a parole hearing again. The 
appellate court must still rule on Sundiata's 
2010 denial of parole, but, meanwhile, 
he's preparing to go before the parole 
board again for his newly won 2012 parole 
hearing. In that regard, he would greatly 
appreciate any and all letters sent to the 
parole board urging that he be released. 

Sundiata is 75 years old and has been 
in prison 39 years, resulting from a traffic 
stop by state troopers on the New Jersey 
Turnpike in 1973 that erupted in gunfire 
and resulted in the death of his passenger, 
Zayd Shakur, and a state trooper, Werner 
Foerster. The other passenger, Assata 
Shakur, was critically wounded and 
captured on the scene where another 
trooper, James Harper, was also wounded. 
Sundiata was wounded at the scene, 
captured in the woods 40 hours later, and 
subsequently sentenced to life in prison. 

Sundiata is now the longest-held 
prisoner in New Jersey's history of 
similar convictions. He has maintained 
an outstanding record in prison and has 
had only a few minor disciplinary reports 
over the past 30 years— and none during 
the last 1 6 years. He's also maintained an 
excellent work and scholastic record, and 
has always been a positive influence in 

prison, particularly in mentoring prisoners 
toward becoming crime-free benefactors 
to the community upon return to society, 
thereby breaking their cycles of recidivism. 

Sundiata is a grandfather who has 
long been rehabilitated, has long satisfied 
all requirements for parole and has no or 
"little likelihood of committing another 
crime," which is the main criterion for 
parole in New Jersey. Sundiata is an old 
man, in declining health, who wishes to live 
out the rest of his days in peace tending 
his grandchildren. 

Send letters urging the board that 39 
years is enough! Release Sundiata Acoli, 
NJ #54859/Fed #39794-066! Address 
the inside letter to The New Jersey State 
Parole Board, PO Box 862, Trenton, 
NJ 08625; but address the envelope to 
Florence Morgan, Esq., 120-46 Queens 
Blvd., Queens, NY 1 1415. The letter will be 
forwarded to the parole board after a copy 
is made for SAFC files. 

Thank you for your support. Please keep 
in touch with SAFC at to 
stay abreast of Sundiata's parole situation 
and additional ways you can express 
support and solidarity with his parole effort. 
Sundiata and SAFC send their sincerest 
condolences to the family and comrades 
of Christian Gomez, the prisoner who 
died in the California prisoners' hunger 
strike— and we send our warmest shout 
out of solidarity and strength to all those 
participating in or supporting the California 
prisoners' hunger strike. 


This magazine contains copyrighted 
material the use of which has not al- 
ways been specifically authorized by 
the copyright owner. We are making 
such material available in our efforts 
to advance understanding of envi- 
ronmental, political, economic and 
social justice issues, etc. We believe 
this constitutes a 'fair use' of any 
such copyrighted material as provid- 
ed for in section 1 07 of the US Copy- 
right Law. In accordance with Title 17 
U.S.C. Section 107, the material is 
distributed without any profit to those 
who have expressed prior interest in 
receiving the included information for 
research and educational purposes. 


by Steve Fraserand Joshua Freeman excerpted 

Prison Labor as the Past -- and Future -- of 
American "Free-Market" Capitalism. 

Sweatshop labor is back with a vengeance. 
It can be found across broad stretches of the 
American economy and around the world. 
Penitentiaries have become a niche market 
for such work. The privatization of prisons in 
recent years has meant the creation of a small 
army of workers too coerced and right-less to 

Prisoners, whose ranks increasingly consist 
of those for whom the legitimate economy has 
found no use, now make up a virtual brigade 
within the reserve army of the unemployed 
whose ranks have ballooned along with the 
U.S. incarceration rate. The Corrections 
Corporation of America and G4S (formerly 
Wackenhut), two prison privatizers, sell inmate 
labor at subminimum wages to Fortune 500 
corporations like Chevron, Bank of America, 
AT&T, and IBM. 

These companies can, in most states, lease 
factories in prisons or prisoners to work on the 
outside. All told, nearly a million prisoners are 
now making* office furniture, working in call 
centers, fabricating body armor, taking hotel 
reservations, working in slaughterhouses, or 
manufacturing textiles, shoes, and clothing, 
while getting paid somewhere between 93 
cents and $4.73 per day. 

Rarely can you find workers so pliable, 
easy to control, stripped of political rights, and 
subject to martial discipline at the first sign of 
recalcitrance -- unless, that is, you traveled 
back to the nineteenth century when convict 
labor was commonplace nationwide. Indeed, 
a sentence of "confinement at hard labor" was 
then the essence of the American penal system. 

More than that, it was one vital way the United 
States became a modern industrial capitalist 
economy' — at a moment, eerily like our own, 
when the mechanisms of capital accumulation 
were in crisis... 

In these years, the system of leasing out 
convicts to private enterprise was reborn. 
This was a perverse triumph for the law of 
supply and demand in an era infatuated with 
the charms of the free market. On the supply 
side, the U.S. holds captive 25% of all the 
prisoners on the planet: 2.3 million people. It 
has the highest incarceration rate In the world 
as well, a figure that began skyrocketing in 
1980 as Ronald Reagan became president. 
As for the demand for labor, since the 1970s 
American industrial corporations have found it 
increasingly unprofitable to invest in domestic 
production, instead, they have sought out the 
hundreds of millions of people abroad who are 
willing to, or can be pressed into, working for 
far less than American workers. 

As a consequence, those back home — 
disproportionately African-American workers 
— who found themselves living in economic 
exile, scrabbling to get by, began showing up 
in similarly disproportionate numbers in- the 
country's rapidly expanding prison archipelago. 
It didn't take long for corporate America to 
come to view this as another potential foreign 
country, full of cheap and subservient labor - 
and better yet, close by. 

What began in the 1970s as an end run 
around the laws prohibiting convict leasing by 
private interests has now become an industrial 
sector in its own right, employing more people 
than any Fortune 500 corporation and operating 
in 37 states. And here's the ultimate irony: our 
ancestors found convict labor obnoxious in part 
because it seemed to prefigure a new and more 

universal form of enslavement. Could its rebirth 
foreshadow a future ever more unnervingly like 
those past nightmares? 

Today, we are being reassured by the 
president, the mainstream media, and economic 
experts that the Great Recession is over, that 
we are in "recovery" even though most of the 
recovering patients haven't actually noticed 
significant improvement in their condition. For 
those announcing its arrival, "recovery" means 
that the mega-banks are no longer on the brink 
of bankruptcy, the stock market has made up 
lost ground, corporate profits are improving, 
and notoriously unreliable employment 
numbers have improved by several tenths of a 

What accounts for that peculiarly narrow 
view of recovery, however, is that the general 
costs of doing business are falling off a cliff as 
the economy eats itself alive. The recovery 
being celebrated owes thanks to local, state, 
and Federal austerity budgets, the starving of 
the social welfare system and public services, 
rampant anti-union campaigns in the public 
and private sector, the spread of sweatshop 
labor, the coercion of desperate unemployed 
or underemployed workers to accept tower 
wages, part-time work, and temporary work, as 
well as the relinquishing of healthcare benefits 
and a financially secure retirement ~ in short, to 
surrender the hope that is supposed to come 
with the American franchise. 

Such a recovery, resting on the stripping 
away of the hard won material and cultural 
achievements of the past century, suggests a 
new world in which the prison-labor archipelago 
could indeed become a vast gulag of the 
downwardly mobile. 


By Betsy Vincent from the 
The University of California and the FBI reached a 
$1 00,000 settlement agreement last month with 
two Berkeley organizations that were raided by 
law enforcement officers in 2008. 
On Aug. 27, 2008, officers entered the offices of 
the Long Haul and the East Bay Prisoner Support 
group on Shattuck Avenue after UCPD obtained 
a search warrant to investigate "a series of 
threatening emails" sent to animal researchers at 
UC Berkeley that were traced to an IP address 
assigned to the Long Haul, according to the 
settlement approved March 29. 
Officers from UCPD, the Alameda County 
Sheriff's Office and the FBI forced entry into the 
building the two organizations share and seized 
computers and digital storage media, according 
to a lawsuit filed by the organizations in January 
2009. An investigation conducted by UCPD 
into the emails showed there was no evidence 
of criminal activity on the part of either of the 
groups, according to the settlement. 
According the settlement, the UC Board of 
Regents will pay the groups $75,000 and the 

United States will pay them $25,000. Of the 
money, $98,450 is for attorney's fees and costs 
and the remaining amount is for actual statutory 
damages. The university will also destroy the 
data on the hard drives obtained by UCPD. 

In the lawsuit, the organizations claimed the 
warrant was improper because it authorized 
search of areas and seizure without probable 
cause and did not specifically describe the place 
that was to be searched or things to be seized. 
The warrant allowed for the search and seizure 
of documents containing names or identifying 
information of people who used the computers 
at the Long Haul, the lawsuit said. It also 
allowed officers to move the seized computers 
to another location so they could search them. 
"We believe that UCPD properly obtained and 
executed the search on Long Haul, based on 
the best information officers had at that time," 
said campus spokesperson Janet Gilmore in an 
email. "We are pleased that all parties were able 
to reach an amicable solution and avoid costly 

The Long Haul is an "all volunteer collective 

that provides a lending library, a bookstore, 
Internet-connected computers, and a community 
space for members of the public," according 
to the lawsuit. The East Bay Prisoner Support 
group — which is unaffiliated with the Long Haul 
but occupies an office in the same building — 
publishes a newsletter of prisoners' writing to 
the general public and distributes literature to 
prisoners, according to the lawsuit. 

Some of the seized electronics were used to 
produce a newspaper published by the Long 
Haul. In the settlement, UCPD acknowledged 
that because the Long Haul was publishing the 
newspaper, the Privacy Protection Act prohibited 
the seizure of protected work materials related 
to the distribution of the publication. UCPD 
denied knowing this at the time of the raid and 
has implemented privacy training for its officers 
in response. 


• «- 

USA TOUR 2012 


w warrior kids, hkiser hoax and morasE 














P.O. BOX 410892 
CA 94141-0892 USA 











7" EP New 2- song EP 







Limited Tour Version out now 






mrr asks YOU 


This month's question: what's the best April Fools joke you've been a part of? 
(asked on April first outside Gilman) 

Kevin, Olympia 

Sending a text that said "oh we can't play 
the show tomorrow, April Fools" all in one 
text message. 

Morgan, Chattanooga 

Today, we took Brynn's saxophone out 
of its case and replaced it with a 40 bottle 
before they played, and she was like "holy 
shit, I didn't pack up my sax last night!" 

Carey, Berkeley 

Pretty much every year of my childhood, I'd 
leave a fake rubber snake in my mom's bed. 

Barker, Oakland 

Today, I spent all day cleaning my chain- 
saw, because I was going to wake Janelle 

up from a nap and chase her all the way 
here with my chainsaw. I even sharpened 
the blade and shit. When I was pulling it, 

I broke the damn cord. What could have 


Mike, Duluth MN 

When I was in the 5th grade, my friend and 
I convinced our really mean teacher that he 
broke his leg during recess. Everybody was 
in on it. 

E, Oakland 

Every single April, the cover of MRR gets 


Lil B, Oakland 

I was moving away, and my ex-girlfriend 
told me she was pregnant. 

Jamie, Oakland 

Asking someone to get something from a 
purse that was full of pubes. 

Caitlin, Oakland 

Last year, my friend told me she was 
pregnant, and I believed her. It sucked. 

Dan, Oakland 

Someday, I will put bouillon cubes in 

someone's showerhead, so that they start 

their April Fools Day with a broth bath. 

Gr4€k 3cene Reporcl 

- Report by Lydia Athanopolou 
You may be wondering "Athens, Greece? What, that place 
with ail the fat politicians, riots and ruins?" Yup, that's the one! 
The country of feta cheese, ouzo, ancient temples, half-naked 
phijosophers, beaches, sun, and souvlakia. Oh, and democracy 
too, but that's all obviously over. See, if you were to ask someone 
this very moment what they know about Greece, they'd probably 
tell you that we're on the brink of bankruptcy, owe more than we 
make and demand more than we deserve. This is only partially 
true. Like any coin, there are two sides to it. 

Yes, Greece is in a mess— it always has been if you ask 
me— and we are a large part of our own problem. Yet below, 
above and beyond the ever-bubbling surface of societal unrest, 
political corruption, and economic injustice, lays an additional 
reality. Dotted across Greece, from Athens to Patra and Salonica 
to Volos, punks are doing what they can to keep the banner of 
freedom, equality, and counter-creation flying high. Surely like 
in every scene, there is often politicking, disagreement, and 
unnecessary drama (sometimes >naybe too often), but if and 
when we put our heads to something, we always make it through 
somehow. The important thing is to remember all the things that 
unite us, not what divides us. 


This little report will focus mainly on efforts, bands, and activities 
that I have a personal connection with, generally from the end of 
the '90s through the beginning of the '00s and after. I will talk about 
Athens, as this is my hometown, but also refer to other cities of 
Greece, which have punk efforts worth sharing. Keep in mind that 
this is only a limited report, not because I want to leave anyone out, 
but because a full report of the Greek scene both past and present 
could literally fill a book. Let's hope one day I get to write it. 

I grew up outside Athens, up on a mountain, far from any buses 
or trains, so going to a gig when I was young was an extra special 
event. Because I lived so far away, I had to leave at least three 
hours in advance if I wanted to be driven the ten minute drive to the 
bus stop, then take the half-hour bus ride to Halandri, then wait for 
a trolley for the final 45 minutes of my journey and still have time for 
cheep beers and joints outside the show. All the while blasting my 

walkman at top volume and the show hadn't even started yet! Oh the joy! 

Anyhow, at 24 I moved to the centre of Athens, which made it easier to 
go to shows and experience things in a much more powerful, direct, and 
raw way. Now, the first thing you need to know about Athens is that the 
very core of it is like the devil's triangle. The streets Stadiou, Pireos, and 
Ermou triangulate and Omonia is the plughole (dope centre). Of course it 
is in this triangle that all the demos usually take place, making it the central 
battlefield between cops and demonstrators. 

Within and around this area is where it's all at: gigs, record stores, bars, 

cafes and cinemas; squats, universities, and students; meat markets, 

flea markets, the business district, banks, old "historic" buildings, shitty 

concrete blocks, and of course the really old part of town with its ruins and 

tall rocks, ideal for a panoramic view of the shitty city below. 

Mixed in with all this are the growing amount of homeless people, the 

demonstrations, the drug dealers and their junkie clients, the pimps and 

lunatics, the alienated immigrants, the angry no-future youth, the black 

market, human exploitation and of course, the fascist dicks and their pig 

allies. 1312! 

The wider city centre has a number of neighborhoods that do have self- 
organized groups and community assemblies which organize demos, 
benefit concerts, talks, and info promo, such as Patissia, Peristeri, 
Kypseli, Brahami, Petralona, Pagrati-Vyrona-Kesariani, Ag. Paraskevi, 
Halandri and Marousi, Nea Philadelphia, and elsewhere. 

But the real heart of reaction and resistance is Exarhia, naturally 
attracting punks. Officially designated by streets Solonos, Ippokratous, 
Patision, and Alexandras, Eksarhia is situated right next to Kolonaki, 
one of the most expensive, posh, snobby, and jeep-infested areas in 
"Athens. In stark contrast, Exarhia is the underground, unconventional, 
actively political part of the centre. While one area is drinking lattes and 
discussing bullshit, a few streets down is an open playground for the 
riffraff, the restless, and the displaced. 

For decades it has been a student area, because it is almost 
i surrounded by universities, like the Law Uni (Nomiki), Polytechnic Uni, 
ASOEE, and other schools and educational institutions. Of course, 
along with students comes unconventional, liberal, and left-wing 
politics, and so nowadays Exarhia is best known locally for attracting 
people from the (extreme) left side of things, as well as musicians, 

8 artists, self-organized collectives, writers, political activists, hooligans, 
traveling punks, and of course, lots and lots of students. Up until 
recently the universities gave people asylum from the police, making 
them play an important role in the larger political scheme of things, 
* Even though it's still a bit of a grey area, it is precisely because of the 
asylum that a lot of the DIY music collectives and political groups are 
actually able to put on shows and events. One thing is for sure; they 

HIBERNATION performing at Strefi Hill -. 

|3reek Scene Report 

will meet resistance if they try to allow police 

forces into the Universities or any of the squats. Let's see 

how long it will be before the government tries to invade 



Shows in Athens are almost always a fun deal. Because a 
lot of the places that do punk, hardcore, and garage gigs are 
close to each other (within and around Exarhiaand the devil's 
triangle), on a busy weekend when there are a lot of shows 
and parties all at once, you can walk from one to another 
easily, while sucking on some cheap beer from a periptero. 

On a lively weekend, you can catch an early punk show 
at Katarameno Syndromo, a basement dedicated to punk 
rock shows, or at the autonomous space on 94 Kallifromioy / 
KaAXi5pouiou street, then move on to one of the Universities 
where one of the political or punk crews will be doing a benefit 
show (of course I support the box as much as I can by buying 
lots of beer!), then you can go by one of the other Universities 
for a benefit party, where music can vary from hip hop to trance 
or drum'n'bass, but it's always a guaranteed way to run into 
someone you know and get drunk for a good cause. After that 
you could crawl on to one of the many little bars, or hang out in 
Exarhia square, which is usually pretty full. Often enough there will 
be a metal or high-rolling hardcore show going on at one of the live 
clubs in the' area (usually at An Club or 7Sins), so you can catch up 
with a few beers and your metaihead friends outside the club before 
the show starts (or while the sucky support band is playing). 

Various people and groups help keep the DIY punk scene alive 
in various ways. Remember that even though Athensis the capital, 
we're still basically just one big horio (village), and most people still 
have a horiatiko (peasant) mentality. In its totality, the Athenian punk/ 
hardcore scene only really sums up about a thousand people or so... 

May 24, 2009. It was originally supposed to happen at the University 
Campus Area in Zografou. Problems with the University- deans meant 
transferring the gig to the Exarhia-located Polytechnic Uni just three 
hours before it was supposed to start! Sure enough though, more than 
a thousand people showed up and it was amazing. My hands literally 
froze from reaching into barrels of ice water and beer while helping out 
behind the bar. Epic night! 

BIAAA AMAAIAI / Villa Amalias is one of the oldest squats in Athens 

and thankfully still going strong, even though they suffered some construction 

problems (and the usual shit squats have to deal with, like cops and 

fascists). But they have been working hard and the live space has opened 

again recently, with a 21st birthday show with BLACK LISTED, DALA 


and PANDIMIA. KATAPAMENO ZYNAPOMO / Katarameno Syndromo 

(KS - meaning "cursed syndrome") is a tropical wet basement where you 

can catch punk, garage, and hardcore shows. KS used to do shows at 

Kallidromiou 94, but in 2009 got it's very own underground hole. The self- 

• organized steki (hangout) Pikrodafni in Brahami also does DIY shows 

sometimes and there are a number of autonomous stekia, or squats, 

such as Nosostros in Exarhia, Kouvelou squat in Marousi, Prapopoulou 

squat in Halandri, Strugga squat in Nea Philadelphia, Skaramaga squat 

opposite the Polytechnic Uni, niKnA squat in Petralona, Lela Karayianni 

37 squat, and Ano-Kato steki in Patisia. Ano-Kato annually hosts 

the Teuns\id6a / Tebeliatha, which is like a parody of the Olympics 

{Olympiads in greek), just "tembelis" in greek means lazy, so it's like 

| the Lazylimpics and it's loads of fun. Last year they did punk musical 

chairs (brutal!), chess, checkers, and beer drinking contests, and I 

actually came third on the ability contest, which included a potato 

sack race, then gulping down a cup of fizzy juice, running to the next 

point, blowing up a balloon (if you have any breath left), wearing an 

oxygen mask, running to the next point with the balloon, putting a 

threat through a needle, then popping the balloon! 

Of course the people who help the punk and hardcore 
scene develop and grow, whether with shows, or by getting in touch 
with bands, by doing sound, art, zines, and blogs, are many. Most 
of the more active people in the scene do a number of things. 


and Keep It Real zine (and singer of now defunct Volos hardcore 

band DISHARMONIC) runs a pretty large and very well informed 

hardcore punk distro, books local and foreign shows, supports 

local releases and bands and sings for MY TURN. MY TURN 

guitarist Fotis is in charge of Take Your Shot zine, OWL records 

and VSXE Athens blog. Bak from Scull Crasher Rrecords also 

runs his own distro, with 


BLACK LISTED performing at ^Ma Amalias 

and kicking crust, grind, and 
punk releases, has played/plays guitar with 
and runs local and foreign shows with Charge 
Forward bookings. Bak also helps out with 
the Anarchopunk Collective, which usually 
books benefit shows for political prisoners, 
animal shelters, against racism/fascism, and 
other political causes. Also, the Punk Rock 
Crew 77-'82 often organize (benefit) punk 
parties and gigs and just sometimes, maybe 
once a year or so, all these people and more 
will work together for certain larger or more 
demanding shows, often a summer show at 
Strefi Hill. 

Pavlos is the guitarist for grindcore band 
SLAVEBREED and also runs Noise Attack 
records and distro. Panos, who also helps 
out at Katarameno Syndromo, plays guitar 
for '80s style hardcore band ANTIMOB 
and alongside Skaf and Kostas (who plays 
for ska eight-piece SMOKING BARRELS), 
they all do Mountza zine, while ANTIMOB 
bassist Midas draws posters and album 
art. Some of the Mountza boys also did 
Immigrant zine, along with Ermis, who also 
helps out at KS and has just finished his fist 



graphic novel called The Beref Thief with the 
Rolled Up Sleeves. You can find info on that 
at Peio and KS vegan chef 
plays guitar in melodic punk band DESPITE 
EVERYTHING and is part of the collective 
This Heart is A Pipebomb Silkscreening, while 
bassist Jack and guitarist Billy help out with 
loads of shows by lending machinery and much 
valued help behind the sound console. 

ANTIMOB singer Stathis also sings for 
newly-formed band GUTTER, with. Bak on 
guitars and brothers Elias and Vagg on bass 
and drums respectively. Vagg also plays drums 
bassist Billy also plays for dark hardcore band 
CON FUOCO and used to play for TIMETRAP 
and JACK POT (from Serres), does sound at 
many of the shows, and helps bands out with 
recordings. A real gem, she is! 

Harry, who also does sound at Katarameno 
Syndromo, plays bass for Greek crust pioneers 
Skulld recs), who actually have a new split out 
with SLAVEBREED, co-produced by Pavlos' 
and Apostolis' labels. Mikexxx runs the Fifteen 
Counts of Arson blog, making sure we get our 
dose of hardcore and punk downloads, while probably has the longest list of 
Greek punk bands I've seen, full of links, photos, 
and info. 

Other punk distros you should definitely check 
out are: Scarecrow distro, run by Darek, one of 
the oldest punk distros in Greece; Crust Cracker, 
with a crust hardcore metal distro and a blog with 
cool crust releases, run by Foris from kick-ass 
crust band HELLSTORM; Last Scream, run by 
Harry and Alekos of HIBERNATION; Alcoholic 
Desaster with anarchocrust punk (and yes, it's 
Desaster, not disaster:) 7inch punk distro based 
in Volos; Chronic Disease with grind punk and 
crust; Body Blows records managed by AAS' 
drummer, one of the KS founding members, 
who also used to be part of Blind Bastard 
records; and Rhythm records, possibly the only | 
punk record store left in Athens, run by Starvos 
on Emmanouil Benaki street in Exarhia. 

Over the years there has also been a flux 
of band growth in many directions. Punk, 
hardcore, grind, psych garage, crust, and black 
metal bands are issuing demos and releases, 
doing shows, organizing mini tours, and playing 
together at festivals, like the annual Arm Your 
Desires festival that happens every summer in 

This is a good time to point out our very own 
punk creation: kaca/katsa punk. Like D-beat 
or the japcore, katsapunk grew from the very 
heart of Greek punk, born from the true essence 
of urban city punk: street dirt, raw reality, and 
talentless musicianship. At least this was the 
story to begin with. Now many bands actually if 
try to recreate this sounds, but katsa really just g 
means fast, angry, simple, and not. necessarily 
excellently played. Also the sound is usually very 
raw and kinda sounding like one messed up 
noise and, if it's a demo, it's almost guaranteed 
to have shitty quality, but that's the point! The 
more raw, the better! Katsa! 

Ass-kicking bands from the greater Athens 

J&Efci ^-wga&jj^|isg«3|-j 

\ 'I Wti 



Katarameno Syndromo basement 

with female vocals, a heavy mix of hardcore 
crust, they've just been on a mini tour with 
JAGERNAUT, who play dirty crust-grind, and 
visited Salonica, then Istanbul and Ankara in 
Turkey. MY TURN play SxE hardcore with 
catchy riffing and sing-along choruses, and 
often play alongside their mates BANDAGE, 
who play a good sort of HOT WATER MUSIC 
take on Cali and '90s punk rock. If you like 
your hardcore noisy and migraine-inducing 
(for either you or your next door neighbour), 
check out bands RUINED FAMILIES (their 
latest LP co-released by Halo of Flies), 
CHERNOBYL ATTACK {katsa anarchopunk) 
and noisy as shit). 

Other hardcore bands you should check 
out are ASPHYXIA/Ao^u^ia with gritty 
hardcore with Greek vocals, death-grind 
katsapunk band MOLOTOV BOMBS, old 
school hardcore AGAINST ALL ODDS, 
black metalers PLAGUE and PANDIMIA / 
riavSnuia ("Pandemic"), who play '80s style 
punk with awesome Greek vocals (their Villa 
Amalias show was like a trip back in time). 
record co-released by Southern Lord) play 
TRAGEDY/DISFEAR-style crustcore, the 
LUNATIX play crazy fast and raging punk 
rawk, EXODOSI/E^6vto)oti ("Extinction") 
play heavy, crusty metal with Greek lyrics, 
Koivo)viKr] Anoouv9eoT| / KINONIKI 
APOSYNTHESI ("Social Decay") play fast 
katsapunk with Greek lyrics. 

CENSORED SOUND play old-school 
speedy hardcore with ripping vocals, while 
their guitarist Alex is also part of the VODKA 
JUNIORS thrash skate punk family, doing 
sound wherever they go. BAD LUCK SOULS, 
featuring members of Avaoa rraXTr|/ANASA 
STAHTI and DEUS X MACHINAplay melodic 
rock and roll punk. THE DISTORTION 
punk, while AAS play a very dirty punk and 
roll. In fact, their bassist, along with members 
SIXTOUNGE used to play fast aggressive 
punk in a band called OCB. ACID BABY 
JESUS play psych garage punk and have 
already toured Europe four times with bands 
like the BLACK LIPS, DAVlLA 666, and 
CRASH NORMAL and are about to set out 
on their second American tour; their singer 
also helps out at KS. BAZOOKA do afrenzied 
SPITS-come-grunge collage, while members 
of BAZOOKA also play in noisy speedy punk 
AND THEE APHRODYKES play filthy surf 


import gB%ec 

rock with the best handdrawn posters and 
covers by the Caveman himself. LAST RIZLA j 
go in the post-stoner rock direction, as do 
N YXTA used to play melodic punk with gasping 
vocals and a violin. GLOBAL DISILLUSION 
play punchy fast hardcore punk, the singer J 
of STRAIGHTHATE, Panos-who also runs 
BlastBeat Mailmurder— has started a new 
band called DEPHOSPHORUS (they have a 
split with WAKE from Canada and their artwork 
is usually done by friends Viral Graphics) and 
DEAD CONGREGATION (singer/guitarist 
Anastasis was also in NUCLEAR WINTER, 
with Yianna from HIBERNATION on drums) 
are currently on a European tour with 




Salonica is home to many bands, universities, 
collectives and groups. You can catch shows 
at one of the University Campuses or squats, 
organized by one of the various political 
groups existing there, like Viologiko, Terra 
Incognita, Libertatia, Fabrika Yfanet, and 
Delta. You can even catch a gig on the street, 
when once a year local bands organize a 
moving concert, called the Street Parade. 
Or the Zombie Riot, when punk rockers of 
all type take to the streets all dressed up as 
zombies and walk through the town in the 
hundreds, ending at the Uni for a live punk 
show. You might be able to tell that Salonica 
is a special place and, I don't know if it's 
something in the water, but shows always 
start after midnight, by which time of course 
everyone is thoroughly drunk and high. 

Bands worth checking out are: JOHNNY 
CARBONARAS who play surf space punk 
(their two guitarist also plays in BAD TRIP), 
danceable tracks, THtheEE PANKACESHE 
with their highly catchy and melodic (football) 
dirty skinhead punk rock, GO OVER 1000 
and their all-things-guitar surf-ska-punk-and- 
roll, BAD MOVIES' lyrical punk rock with pop 
hooks and catchy vocals, and rockabilly band 

Also, on the darker, heavier side, BAD 
TRIP play hardcore post-prog much in the 

vein of NEUROSIS and could literally tear 
d,own a wall with their bass sound. BAD 
TRIP guitarist and sound extraordinaire 
GeorgieBoy and bassist Panos are also 
involved in an experimental guitar / violin / 
sample improv band called UNDERWATER 
CHESS. Moving on to harder stuff, RAW 
NOISE APES sound pretty self explanatory, 
GENA APO KOLO / fewo. Ano KcbXo ("Butt 
Birth") play brutal grind death, MARCH 
INTO THE VOID covered post-hardcore 
territory and last year three members of 
the band went on to create NATARAYA 
(with the best band logo I've seen in ages), 
but total-a//far, a/ffis=bum) play '80s style 
hardcore punk and TELEFTEOS EONAS / 
TeXeutaioq Atwvae, ("Last Century") play 
dark hardcore punk with angry male and 
female vocals and violin. 

INTO. THE GORE were an awesome 
NASUM-style grind band, with both ripping 
and bellowing vocals and APEHTHIA / 
AnsxOeia ("Repulsion") play raging D-beat 
hardcore punk. GO FILTH GO are the fucking 
D-beat bomb and all of the band members 
are involved in other bands, including blasting 
hardcore grind band PHINEAS GAGE, 
crust grind TERRORISMO MUSICAL, crust 
hardcore DYSPNEA (from Tyrnavos), gore/ 

grind ACTIVE STENOSIS and old school 
black metal band BLACK TRINITY; all friends 
and a small scene in themselves, 


Also, further up in Kavala is the Accion 
Mutante collective, which unfortunately I have 
not visited, that organizes lots of hardcore, 
crust and punk shows among other activities. 
Kavala is also home to hardcore punk band 
SATAN'S REJECTS, some members of 
which also play(ed) in DEATH RATTLE and 
the sensational '80s Finnish style punk band 
RAJAHTAA(who have many covers, including 
"pizza ya pasha" / "Pissa ja Paskaanyt" by 
TERVEET KADET; in Greek, this translates 
to "pizza for Easter"). Also from Kavala are 
ASSYMETRI APYLI / Aaouusipn, AnsiAn. 
("Uneven Threat") that play fast katsapunk 
with male and female vocals in Greek and I 
BROCKEN GLASSES that play gritty oi! punk 
rock. OUTLAW GEN play '80s style street 
punk and hail from Xanthi, as do IHORIPANSI 
/ Hxopunavon, ("Noise Pollution") who play 
katsapunk with Greek vocals and PAR AM AN A 
("Safety pin"), who play melodic punk rock with 
Greek lyrics, and you might be able to catch a 
show organized by local squat Xanadu. 

If you are ever in Komotini you can catch 


AT OFF at RHpdromiou 94 basement 


a show at Utopia A.D., the anarchist steki 
(hangout) or if you reach Alexandroupoli, 
you could catch Yorepta/ HYSERIAplaying 
their raw anarcho hardcore punk. If you're 
even in Veroia in the summer you can go 
to the three-day benefit Freedom Festival / 
<t>eoTi0dA. EAeuGspiaq they organize once 
a year with dozens of bands. Other cities 
that have either self-organized spaces or 
squats are: Ya Basta University squat in 
Loannina, Rosa Nera squat in Hania and 
Evaggelismos in Heralkion on the island of 
Crete, Binio squat on the island of Mytilini, 
Apertus squat in Agrinio, Elea on the island 
a of Kerkyra, Karradeiou on the island of 
§l|f Chios, and Andiviosi squat in Yiannena, 


H Volos has had a pretty active scene for 
H some years now, mainly doing shows at 
•'!.;: the Matsagou squat with the help of the 
A Riot Squat collective, which Apostolis WAK 
1 (who's actually from Volos) also helps out 
"',. with. Bands from Volos include metal- 
jjj screamo-hardcore ETERNAL HATED, 
heavy hardcore thrashers FAITHREAT, 
mean, racing crust punk SOCIETY'S 
VICTIMS, and deathy crustcore UNFIT 

Just up the highway is Larisa which 
up until recently didn't really have a solid 
scene-thing going on. Pavlis still runs his 
awesomely named distro We Don't Fight It 
distro (in Greek this means "can't take any 
more, fed up"). He used to hand-write his 
distro catalogues back in the day before 
computers and has now finally made 
himself a blog. He also helps run shows 
with the Antara Kakia Collective, usually at 
one of the Larisa Universities. Bands you 
can check are Rancid-style ska punk 10 
TO GO, melodic punk rockers ABSENT, 
ska punks SKY PUP, and grunge rockers 

Of course we cannot forget the almighty 
HELLSTORM from Kozani, who are d-beat 
hardcore crust heaven with pissed off 
vocals. The two guitarists have also started 
a band called LAND OF MARTYRDOM 
and they totally fucking rock it! Straight 
heavy hardcore with a black metal edge 
that cuts like a highlander sword! 


Patra is also seeing some more action lately, 
especially because of places like Prokat 35 
university squat, Parartima / napaprripa 
squat and Porto Patrasso collective. 
Bands you can check out are FIELD OF 
(crustcore), DALA SUN (heavy stoner), 
DIRTY WOMBS (hardcore crust), I WANT 
YOU DEAD (heavy hardcore metal), 
MUERTE DE LA PEGA (crust hardcore 
metal), THOSE DAYS (sxe hardcore), 
punk), and TERROR DETONATOR (death 
metal punk). 

Patra is also home to ADMC07, a 

.JHwL . 

very talented young man who has designed 
many logos, album covers, and posters for a 
number of bands. If you check his website (or 
enough of the bands mentioned here), you'll 

|J surely recognize his work all over the place. 
Another graphic designer you'll come across 

P is Jerboa Design (based in Athens, now also 
doing tattoos). Fuzz Ink. silk-screening hails 
from the island of Syros, Viral Graphics based 
in Athens have done posters for both local 
and international names (their Bacteria zine 
is unfortunately sold out) and last by not least, 
Johhny Negri who has done lots of posters, 
album art, stickers and logos. 


There is also quite some movement in the 
zine department. The best place to look for 
Greek zines is, from there you 
can discover loads, from music and comics, 
to perzines, queer zines, story zines, etc. A. 
really valuable tool for zine makers in Greece, 
look it up! Personal favourites are punk zines 
(all in English) Wo Exit, Mountza, Keep It Real, 
Take Your Shot and Nowhere/Now Here (done 
by errr, this here author... issue #2 out soon!). 

Favorite Greek zines are riowraoc & OXeQpoc, 
("Cock & Havoc," queer zine), Mowi -j«p.aTO 
ue ocyKaexia ("Cunt Full of Thorns," perzine 
by the youngest punk I know, Friki who helps 
out with Charge Forward bookings and at the 
Matsagou squat in Volos, and also runs the I 
Screaming Reality blog) and The Prisoner j 
from Kavala (zine creation in prison is a life 

Radios are also a strong way of supporting 
the punk (and resistance) movement and easy j 
internet access has created a rise in online 
radios. They are of course very useful tools, 
but traditional radio is still part of the battle, 
with stations such as Radio 98 and Radio 
Entasi / vTaori 100.1 in Athens, Radio- 

Revolt 88.7 FM and 1431 AM in Salonica, 
Radio Katalipsi 93.7 FM in Patra, PaSioup ia| 
/ Radiourgia 88'.0 FM in Agrinio, and 105.1 FM . 
in Mytilini. There a various webradios for both 
political and punk causes, for example Radio 
Parasytes / PdSio napaauxa from Volos 
at, Radio Fragmata from 
Athens at, the 
Autonomous Radio of Loannina at, 
Radio Patata with punk, ska, hardcore, indie, 
hip hop music at 
Lastly, I think I should mention the recent 
Greek punk revival. The last few years have 
seen old Greek punk bands come back to life, 
either by way of a live show, a re-release, or 
even new material. Good examples of bands 
that have re-issued old recordings, sometimes 
including new tracks, or played a few shows 
lately, or both, are: GENIATOU HAOS / Tsvtd 
tou Xaouq ("Chaos generation"), ANTIDRASI 
/ AvTlSpacm, ("Reaction"), ANTI, FkouXo 
EKSAFANISI / coo. npo<; E$a<t>dvion| 
("animals on the verge of extinction"), 
EKTOS ELENHOU / kto<; EAe xou ("Ou| 
of control"), and VANDALOUP / BavSoAoun j 
(Best Salonica hooligan bahalopunk ever! 
B'ahala in Greek means "mob riot"). 

Unfortunately, some people seem to want 
to take advantage of this "renaissance" and try 
to sell old Greek punk records for hundreds of 
dollars. Or promoters want to book the show 
and charge a high entry fee just because 
they know old punk bands will attract a lot of 

Something similar happened recently when 
members of old punk bands (ANTI-TROPAU 
2 WITHOUT 3) organized The '80s Gathering 
at the AN club, without publically announcing 
anything and entry by invitation only. I didn't 
want to go to a show like this, but friends who 
went told me that from 10.30 until 05.30 in the 
morning, eventually everyone outside the club 
made it in, some for five euros, some for free, 
and half of the old punk scene took the stage 
and performed a melee of old punk songs 
from a number of bands for a crowd of about 
400-500 people, a quarter of the amount they 
could have collected had they done a free/ 
benefit show at one of the universities... 

Of course I hope that at least some of the 
old bands will still honor the DIY code and opt 
for benefit, squat, or self-organized gigs in the 
future. Times are strange, that's for sure and 
even stranger here in chronically messed-up 
Greece: People seem to be turning against 
each other, sometimes even within the punk 
and anarchist scene it seems, and in some 
cases up north there is even hostility. . . Anyone 
within in the scene, who tries to "cleanse" it 
and keep out "impure" punks or anarchists 
based on politicking and fanaticism, by use 
of violence and hate, is as totalitarian as the 
regime they claim they oppose. Let us hope 
this social turmoil will— eventually— make 
punks unite in larger numbers and not the 
opposite. ... Up the punx! 

















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Police Bastard 7" 
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1 "r.imals, beef ierky, Wal-Mart clothes anc 

.,, much sums up the Omegas tour experienc 


MRR: When and why did Omegas form? 

Spoiler: Tony, Skibs and me started practicing in January 2007. 
According to google, we played our first show in August. We 
formed because I had bought a new bass that I wanted to play, and 
Skibra had just moved to Montreal and wanted to play drums in a 
band again. 

Dan: Why did Omegas form? Actually, we wanted to go into 
business together. You ever see those street artists who tell you 
they'll write you a poem for a few dollars. We were going to do that 
all throughout Quebec. But, like, real high quality poems. Business 
wasn't as good as initially projected, so we figured it would be a 
good idea to diversify our revenue stream with this "punk rock" 

MRR: You guys have been a band for quite some time, but 
recently you have seemed to become more well known. Why do 
you think that is? 

Hoagie: I sincerely believe that it's because people have noticed 

just how strong I am (physically). 

Tony: That's right, people have noticed that a lot recently. 

Dan: Probably because we have a few more records out. When you 

put out a record, people will put the name of your record in a list 

they post on a message board somewhere. Then some other guys 

will make lists with your record as well. We're a list-guy hardcore 


MRR: What's the scene like in Montreal? How many people 
come out to Omegas shows? 

Spoiler: Last time we played Montreal, there were two thousand 

nay -.trappers , 
an Elvis cookbook. 
e right there. " 

b7 Katt S * lnC °- »»*>. br Benolfc pepin 

screaming fans pushing against 

the barricades. They were screaming "you suck!" and 

they were fans of the Dropkick Murphys, but that's what the scene 

is like in Montreal. 

Tony: The scene in Montreal is definitely too hard to describe in 

words, so in images I would describe it as a picture of the Robocop 

glued on a Greco-Roman painting. 

Dan: I don't think people in Montreal actually come out to see us 

play. They come out to drink with us and they're happy if we play 

a few songs, but if not. no big deal. 

What previous bands have you each played in? 

Hoagie: I was in a band called Renegades in 1995. You can hear 
one of our tracks off of the second Joy Boy mixtape. Spoiler titled 
the track as "You" for whatever reason (the guy is a dope and has 
a sense of humor that only intelligent pigs understand). To set the 
record straight, the song is actually called "Intelligent Pig Man." 
Spoiler: I was in Bogus Cause. Colossal Man, Verneukers, Noiz Boiz, 
and 1 just started a new band today called the Discriminators. 
Tony: I played in XcellentorX, Prestone44, The Desoles, Get By, 
and America's Youth, and filled in on either drums, guitar, bass, 
keyboards or vocals in about a dozen other bands, long story. 1 
currently play in a band called "XX". 

MRR: Hoagie and Spoiler, why did you move to Montreal? 

Hoagie: 1 was born here. But I will not die here. Mark my words. 
Our guitarists are from here as well. We are a Montreal band, you 
dumb fucker. Do the research next time. 

it*': '' ■■■\ *>■■ •**&;--?■ - ■ 

.*> t*. C :*'v*? 

.V' . 

VI. V 

-•*^£ ■-■<%' .-ite-LV. 

,: *Wi ■•' 

Spoiler: I was just fed up with how boring life 
was in my hometown (Minsk, Belarus), so one 
day I went on Yahoo Answers and asked where 
I can get lapdances where I can put my hands 
on the boobies. 

MRR: Show me your long form birth 
certificate, terroristJYou guys were featured 
on the Fucked Up Weekend DVD. How did 
that come about and what is your relationship 
with Fucked Up? 

Hoagie: That wasn't us. At least I wish it wasn't 
us. Do you see my face on the cover of SPIN 
magazine? No. Instead I'm on the cover of "Shit 
Punk Band Weekly". I'd like to know how much 
dough Fudged Up made off of those DVDs? 
Note: Omegas will release the first ever Blu Ray 
of a live punk concert in 2012. It will be titled 
Spoiler: One time I smoked a bit of a marijuana 
cigarette with them in the backstage of a Foo 
Fighters concert. I'd like to think that us having 
been on their DVD really opened a lot of 
doors for them and that is why they invited me 
backstage. I wanted to shake Pat Smear's hand 
but I didn't. 

Dan: The full title of the DVD is actually The 
Omegas ' Fucked Up Weekend. It was meant to 
document the greatness that was our second 


MRR: Can you talk about the JoyBoy mix 
tapes a little bit? 

Hoagie: So far there have been two made. It 
is an international unity tape consisting of 
new.old and exclusive releases. Our third one 
should be out in time for Chaos in Tejas and it 
includes: Boston Strangler, The Peacebreakers. 
Waste Management, Crazy Spirit, Free Spirit. 
Los Potatos, Disgusti, Altered Boys. Duress, 
Zero Progress, Verneukers, The Stressors (your 
hometown boyfriends). Heavy Metal Eric, 
The Pack, Sonic's Revenge, Seizure Salad, 
Pulverize. Candy Randy And The Gayboys and 
a whole bunch of prank calls, wrestling clips, 
interviews, live stuff and maybe-babies from 
Canada, Australia, Bulgaria, Russia, the U.S.A. 
and Ukraine. 

Dan: Part of the reason for the JoyBoy tapes is 
to document the best and most promising non- 
or semi -existent bands from Montreal like ZDF, 
Bogus Cause, Verneukers, Prune Boys, the 
Slobs, etc. 

MRR: How did your 2011 tour with the Blasts 
of Lunacy LP go? Any particular interesting 
or funny stories? 

Spoiler: I remember when the three tour vans 
were parked next to the Chicago venue we 
wanted to peek inside for comparison. The 
School Jerks van didn't have windows, so we 
never knew what they were up to. Lots of stinky 
dinky I bet. The Culo van inside was covered in 
leather jackets, records, leather gloves, chains, 
all kinds of punk stuff. Then we looked inside 
our own van and it was all wrestling magazines, 
candy wrappers, stuffed animals, beef jerky, 
Wal-Mart clothes and an Elvis cookbook. 
That pretty much sums up the Omegas tour 
experience right there. 

Tony: I believe you forgot the part about 
the sweaty shirts hanging to dry in our van. 
Actually those were mostly mine. The tour was 
great, apart from the time we spent at the shows 
we were mostly sleeping and/or sweating in 
the van, and eating the worst food ever. Don't 
get me wrong: we're tough enough to survive 
such a hard way of life, hard style. Props to the 
Chicago Straight Edge, XValeriX in Cleveland, 
St-Louis Pizza Crew, School Jerks, Culo. and 
most importantly Mike the Raven (Sonic's 

Revenge) from Columbus. 

Hoagie: Hahahaha. Don't forget the "We 

Like To Chunky Dunk," th 

Marl Cheese Puffs container (which some 

girl bought at our last show in Mendon, 

MA), ltalo Disco, Fabien Nesti, "Spooks in 

Space" and... 

MRR: When first creating the band, did 
you guys have any particular sound in 
mind that you were shooting for? 

Hoagie: I was told early Bad Brains and the 
Mob, but I don't find any of our stuff really 
sounds like that. Luckily for us 1 didn't 
have any real pull or say in our sound in the 
beginning, otherwise we would' ve sounded 
like Walter Carlos meets Bulldoze. 
Spoiler: I was listening to the Bad Brains 
a lot because I'm always listening to the 
Bad Brains a lot. 1 wasn't trying to sound 
like them or anyone in particular, it was 
moreso the irrational song structures and 
tempo changes that inspired me. When we 
first started playing shows, people said we 
sounded like Reagan Youth (because of 
Tony's guitar sound) and Antidote so maybe 
that subconsciously made us develop more 
of an early NYHC sound. 1 don't know. We 
just write what we like. 
Tony: I originally wanted us to sound like 
New Order but it didn't work so well. 
Considering we all have different influences 
and we all participate in the songwriting 
process, I think that even the early songs 
have the same feel to them as the newer 
ones, we never really tried to sound like 
anything specific. 
Dan: No particular sound. Just rockin". 

MRR: Describe Omega's sound to 
someone who only listens to mainstream 

Hoagie: Smooth, spiritual (but not preachy) 
rock n' roll music that goes down easy and 

that is the big talk on all community college 
campuses worldwide. Buy this album, soak it in 
and wait for the babes to come to you. If you are 
a snowboarder, the music is perfect for a smoke 
sesh followed by some serious cliff. If you are a 
white woman leading a carefree life, this band is 
for you! Warning: This music may not be suitable 
for young children who do not fully understand 
just what it is to FUCKIN' ROCK THE FUCK 

MRR: What bands do you admire and why? 

Spoiler: I really admire the Big City Bastards from 
Moscow (the big city), all bands that Danimal is 
in, and Dead Stop (the greatest hardcore band of 
all time). Other bands that come to mind are the 
Psychos. United Stance. War Criminal, Lethal 
Dose, and Rat Woman. 

Tony: I'd say Bold. Because they are underrated, 
underappreciated, they had deep and introspective 
lyrics and despite never being really hyped they 
still smashed through the boundaries of punk and 
hardcore while remaining true to their roots. 

MRR: What's the Slam Dog generation? 

Hoagie: I am not sure. I think it spans from 
people between the ages of 11-60 who like to 
slam the big lime slam and from people between 
the ages of 70 and 1 20 who love picking up their 
pet dogs and slamming them onto the ground just 
to hear them yelp. 
Spoiler: It's actually spelled Slamm Dogg. 

spelling and grammar. What do you think their 
generation is, Matthew? 

MRR: If 1 had to guess, the Slamm Dog 

spearheaded by Omegas. That, or it is just 
another piece of lingo made up by a bunch of 
goofy Canadians. Tony, what's it like being 
the only straight edger on tour? 

Tony: I can only say good things about it, both 
straight edge and non-edge people come up to me 
to talk about the straight edge, it's almost like an 
icebreaker, I met a lot of cool people. Otherwise, 
the rest of the band are real party animals... (Ryan 
chuckles in the background, slightly choking on 
his spit as well, Tony pats his back)... haha not 
really, actually the other guys are so quiet that 
it almost feels like we're a straight edge band. 
None of them eats meat either, except Ryan 
really likes the jerky, oh yeah he does... 

MRR: Hoagie, is it true to be the man, you've 
got to beat the man?! 

Hoagie: Sort of. You've got the expression 
wrong though, it's: "To be the man, you need to 
beat off a man." I was told that by at an early age 
and I've been on top ever since. 

MRR; Hoagie, tell me a little about your day 

Hoagie: I write porno for a prominent porno 
company. Rather than explain any details as 
to how my job works, I will provide you with 
an extensive list of all of the titles of scenes I 
have written: Fuckloose, America's Next Top 
Cocksucker, Ttitas Under Siege. Truck Stop 
Titties. You Have A bail Case Of Cockivitis. 
The Whorriors. Crotch Watch Fever. Boobjack, 
Blown On The 4th Of July. Boohs Ahoy!. Twat 
Swat. Tit-A-Thon. Beat My Baton. Extra Large 
Pizza With Extra Large Peppemni Nipples. Fuck 
Off You Ass!. Ahrascrewdahra. Screw You Narc. 
Tackle Those Titties. White Tits Cant Jump. 
Time To Pork The Piper. Lean Ass Cuisine. 
Principal Plumpers, Golden Decade Of Cock. 
Hey! Put A Cock In It. Fatal Anal Attraction. 
Spin The Booby, Mademoiselle Jackhammer. 
In The Line Of Booty. Shoplift My Pecker, 
Million Dollar Booby. Whoopie The Mascot. 
It's Raining Buttz And Dawgz. Titty Theatre 
Classics. Trans-Booberian Railways, The 
Invisible Fucker. Darky's Revenge. Ultimate 
Titshee. Superhole Sunday. Quantum Fuck. 
Pumping The Prom Queen's Puppies. Maniac 
Cock: Badge Of Silence. Boobie And Clyde, 
St.Porno's Fire. Sll My Wife's Hole. Me No 
Speakah The English. Class Of Fuck Em High 
(my tribute to '80s movies punks), Rnh Tug And 
Schwiug. The Leprechaun Fights Back (no joke) 
and probably 20-30 more scenes that have even 
cornier names. 

MRR: What will Omegas accomplish in 

Hoagie: Sign to a major label and appear in a 
cult film. 

Spoiler: I don't want to give anything away just 
yet, but if all goes as planned, 2012 will go down 
in history as the year that we got Tony to check 
his email... maybe even answer his phone! 
Tony: My message to everyone reading this: 
come see our shows in 2012 and you'll see. 
you'll see... 

Dan: It's a major accomplishment whenever we 
get it together enough to play a show or record 
something, so hopefully some of that. 

I '.ranted to shake P 
Swear's hand but I didn' 


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Hailing from the Bay Area, No Statik play brutal hardcore and are not afraid to delve into straight noise creating strange musical landscapes of nightmarish 
sound that siege into damaged hardcore. A band that proves the never-ending possibility of something new in this world called punk. 
Interview by Boo Boo Danger, photos by Karoline Collins 


^■-v.'sfjivslr : «?' -.->.*'•£.'■ .»'*><•.'-/' -:>''."*' ■ v***:^*: ft»*fr%»'*;-fr &*££& avv^: *&<** 

MRR: I know that you've all known each other for years but you'd 
never played in a band together. How did you end up forming No 

Robert: I moved back to San Francisco in late 2008 and ran into Ruby 
shortly thereafter. Seemed like it would be good to scoop her up before this 
scene realized that there was an epic front woman languishing bandless at 
a cafe in the Marina. Ruby recruited B (the real question is why Ruby and 
B never played in a band together, since they've been friends for nearly 
two decades), and B was living with Mark. We all knew each other and our 
bands have played together since the '90s, so it seemed a perfect fit. 
B: Yeah, I moved back to Oakland in Fall of 2009 and wanted to play some 
fast hardcore, something I didn't have much of a chance to do during the 
few years I spent in France and Germany. When I realized Ruby was here 
in the Bay Area I knew I had to do a band with her (like Robert mentioned, 
Ruby and I grew up together but never played music together). Anyway, to 
what Robert said, I'll just add that it is lucky and amazing to be able to do 
a band with old friends like Ruby, Mark, and Robert, who are passionate 
about life and music. It was very natural for us to combine ourselves into 
this band 

MRR: As far as I know, none of your previous bands have been like No 
Statik. There doesn't seem to be a template that any of you brought to 
the table for the NS sound. If that's so, then where does it come from? 

Robert: Our first practice was in mid 2009. 1 offered equipment for everyone 
to borrow, just to make things easy. We realized about a block from the 
studio that no one had thought to bring a guitar. .so we stepped into the 
nearest bar to plan our future. It was techno night (or techno Wednesday 
afternoon), so we got drunk and discussed how the repetitive grooves of 
electronic dance music could (and should) be applied to hardcore — and a 
template was born! But honestly, I think we are a hardcore band not all that 
removed from many of our previous outfits. If anything, No Statik is a bit 
stripped down, a simpler approach 

B: Exactly. Apart from what we discussed at our first band practice, aka 
Wednesday afternoon drinking and brainstorming sesh at the techno bar, 
what I see. is that we brought our individual elements together, and, having 
musical instincts that very easily geared into and built upon each other, we 
made the kind of hardcore we love making and hearing and seeing. And it 

just happened. 

Mark: I can definitely hear our previous bands in No Statik. We tend to write 

songs that would: 1. be part of a great live set; 2. be a killer track on an 

'80s hardcore mix tape; and 3. inspire myself to stagedive in my own home 

(write music that I really enjoy!). 

Having previous bands and many years of experience doing this, we are 

still mainly doing this out of enthusiasm and enjoyment. That combination , 

makes for refined chaos! 

Ruby: As far as vocals go I had throat cancer since my last band so my 

voice has definitely changed. >A ton of surgeries on one's vocal cords will 

do that. 

MRR: I'm relatively new to the Bay Area but it seems like right now the 
scene is thriving with fantastic bands. Someone (a life — long local) 
recently credited No Statik as the spur that got the current activity 
going. According to him you all suddenly raised the bar and inspired 
people to step up and push harder and try new things. Do you think 
there's anything to that? 

Robert: I think the Bay Area scene has been flush with brilliant bands 
constantly raising (or better yet, moving) the bar since the first waves of 
punk here nearly 35 years ago. The scene in San Francisco specifically is 
really young right now, but there are kids in their mid-20s who have been 
playing in killer bands for nearly a decade already. I think that combination 
of experience and youth (or the mobility and lack of inhibition that comes 
with it) really benefits both the bands they are in and the scene as a whole. 
(Totally dodged the complimentary question, by the way.) 
B: It makes sense that a music scene has cycles and waves of activity 
and aWesomeness; we all inspire each other and stand on each other's 
shoulders, and in the process of creating new music the soil that nurtures 
us all gets further enriched. 

Mark: Sure! Why not? We are inspired by this stuff. And putting all of that 
energy into it, I think people notice that and little whirlpools start! That said, 
the socio-political climate is very ripe for punk music at this time. Plenty 
of confusion, corruption, and blatant abuse of power to fuel protest songs 
as of late. 

Ruby: I feel like it's the opposite because I had been disillusioned for awhile 
but moving here and seeing what the kids out here were doing totally 

inspired me to get back in a band. Every show we play out 
here, every band we play with pushes me more. 

MRR: What are your favorite Bay Area bands right 

Ruby: Opt Out, Replica, Permanent Ruin, Hunting Party, 

and Culture Kids. 

Robert: Replica (B's band), Hunting Party, Cops, Neon 

Piss, Permanent Ruin, Rank/Xerox, Living Eyes, Culture 

Kids, The Smell, Hesitation Wounds, The Manual, and The 

Machine. So many killer bands here right now. 

B: Neon Piss, Hunting Party, Opt Out, Living Eyes, 

Permanent Ruin, Effluxus, Alaric, and Negative Standards. 

Mark: Replica, Hunting Party, and Futur Skullz. 

MRR: Why haven't you toured more? 

Ruby: We are old. We've toured a fair amount. I think it's 

a weird question. 

Robert: I think we've done alright since our first shows in 

LA a little over two years ago. A couple of trips up north, a 

couple of trips down south, one West Coast excursion with Martyrdod from 

Sweden and a ten day jaunt on the East Coast earlier this year. Naturally, 

adulthood and the accompanying complications and obligations do make it 

harder, and I think that if these same four people were in this band in 1994 

then we would have already toured the country a couple of times. 

B: Totally. 

Mark: We have the experience to know that touring is not it what was in 

the '90s: $1 per gallon of gas and way fewer touring bands! It is also not as 

feasible with jobs to take extended leaves. We love the one-two week tour! 

I think we have toured a lot actually! 

MRR: Besides the gas prices and number of other touring bands 
clogging up the roadways how did touring in the '90s compare to 
touring now? 

Mark: I think it was still a slightly bold endeavor to book a U.S. tour as a 
young band in the early '90s. ..without the internet! Using "red boxes" to 
get all of the long — distance calling done for free. Gas was in the range 
of $1. — 1.50 per gallon. So getting 50 bucks at a show wasn't amazing, 
but it actually bought gas to the next show. Book Your Own Fucking Life 
came out as a DIY networking zine once a year starting in about 1992, and 
really started to get a good amount of people connected and making punk 
shows happen. The dissemination of information was almost all word of 
mouth in the DIY scene at this time via mail, telephone, record stores, and 
shows. Media coverage of punk, pre — Green Day and pre — internet, was 
dramatically less. I also appreciated there being fewer bands out there, 
which I think is a difficult part of touring now — overload! That doesn't lessen 
my gratitude at being able to tour and have toured; it is always a memorable 

MRR: On the first 12" Moses Saarni's artwork featured skeletal hands 
holding an hourglass. The Prank 7" artwork by Tommy Saraceno has 
images of a fire destroying a building. The only lyric to the song "We 
All Die in the End" is "We all die in the end and right now that has 
everything to do with us." Death, destruction, time running out. Really 
disparaging stuff but none of you seem personally preoccupied by 
these ideas. You're some of the most optimistic people I know. What 

Robert: Why is honesty pessimistic? We all die, none of this is permanent. 
I am extremely negative about life in and out of the punk bubble, but that 
doesn't mean I should try to enjoy the part of it that involves me and the 
people I care about. I'm optimistic about tonight, about next week, the next 
record, the next show, about the next time I have dinner and watch the 
sunset with my wife. But the world? Society? The future? Fukkd. 
B: Interesting point and question. I'd like to make a distinction between 
being preoccupied with such things. and being moved, inspired, and/or 
oriented by them. The finitude and contingency of existence is the source of 
its meaning, importance, and intensity. I think that, in distinct and yet similar 
ways, the members of this band express this realization in our ways of life 
and music. 

Mark: I think our music is quite heavy and we don't shy away from the heavy 
subjects. Two of us study aspects of philosophy and metaphysics, and all of 
us have lived enough life to know that some wacky stuff occurs and getting 
through difficult times requires thinking about some of the deep subjects of 
life. The scariest stuff in life is really interesting and just addresses some of 
the mysterious aspects of life that we want to know, yet cannot. . 
Ruby: I like Robert's answer. It's not necessarily pessimistic to point out 
what's really going on. Just kind of reminding people of things that are 
happening or need to happen. 


MRR: A lot of the lyrics read like wake — up calls 
telling us to break our conscripted roles. "The 
Corpse We Will Become," and "Ambivalent" are 
examples. This is another theme I find in No Statik. 
My question is how do we break our mold? 
B: Well, I didn't write any of the lyrics, but I identify with 
the sensibility in them that you mention here. I believe 
it is an aspect of the point I made in response to the 
question about death and finitude. We all know how 
easy it is to be taken over by unthinking routines, habits, 
and normative expectations of the society and groups 
(even subcultures) we live in. To some extent, punk 
itself is founded upon this concern. It is a constant task 
to be vigilant and self-critical about the habits, roles, 
and molds imposed on us by others and by ourselves. 
A healthy appreciation for the contingency of life helps 
you to see this, and helps you to see that it is, at least 
in part, up to you to create yourself and a world you can 
live and thrive in. 

Mark: Keep looking for what satisfies and brings 
enjoyment in your life. Over time that will change, but 
if you are honest with yourself and put effort into new 
"molds," anything is possible. I guess "re-molding" 
sounds more appropriate than breaking a mold to me! 
Ruby: It's not our job to tell people how to change or 


"break the mold." I don't know. Stop being apathetic. 

MRR: "We All Die In The End," aka "The Techno 
Jam," aka "The Space Jam," aka "What The 
Fuck?" Was this a wild hair up Robert's ass (see: 
Vaccuum) or is this just another side of No Statik? 
I know B went to a lot of raves when he lived in 

Robert: Remember the thing about us hanging out in 
a techno bar? It was totally a group idea and a group 
effort, and while I think we kinda blindsided Ruby with 
it, it seems like she is on board (or has just given 
in) with the weirdness. Different vibe entirely than- 
Vaccuum or the remix record that we did. We just 
wanted to do something that was actually different. 
We started sketching it out with Greg- (Earhammer) 
without really knowing where it was going to go — and 
I'm really happy with the result. 
B: Exactly! Here is another shout-out to Greg at 
Earhammer again for being such a killer collaborator 
and facilitator of those crossovers! 
Mark: I wrote this song (as it appears on our new 
LP— just the fast riff) to be a crazy thrash part between 
songs in a set, and when recording we (B and myself) 
realized that this part, half-time, is a perfect minimal 
techno beat. I have DJ'd electronic music for years, 
B lived in Berlin and got way into it there, and Robert 
loves noise of all sorts. This hatched a plan to do 
something "different." Really we just decided we can 
do some different stuff in the studio.. .because we like 

MRR: For one reason or another I thought all of 
the shows on the recent East Coast/Midwest tour 
were good but New York, Chicago, and Boston 
really stood out for me. People were stoked and 
knew the songs down to every breakdown and 
lyric. Did you notice that? Was it at all surprising 
considering No Statik had never played outside 
of the West Coast besides the breakfast show at 
Chaos in Tejas last year? 

Robert: Those shows were all with super rad bands 
and there were a ton of people at them. It's pretty 
simple math. But yeah, I was pretty shocked at how 
well the whole tour went. I knew we were going to 
have fun, but my expectations were far exceeded 
almost every night. 

B: Hell yeah. At some of those shows I really could 
just feel the magic of the moment surging through the 
room and all of the bodies in it. I remember looking 
out at the crowd and just feeling zapped and charged. 


Mark: I felt really good playing those shows and that 
we were well received. It was surprising, yes. At the 
same time, the biggest nerds tend to live in the biggest 
cities! I say that with love and I definitely noticed how 
fun it was to play to an appreciative pit! 
Ruby: I'm always surprised and stoked when people 
sing along because I know my writing style is atypical. 
I like any show where people are happy. People were 
going batshit crazy but everyone had smiles on their 
faces. No "pit bosses" or attitudes. Everyone seemed 
to be having a good time even if they weren't moshing . 

MRR: Last month Mark moved away from 
California but No Statik isn't broken up. How is 
this going to work? What does the next year look 
like for the band? 

Robert: New records are almost done, should have 
them both by the tour in June. I've been in a few 
bands with members scattered about, so we will do 
what we can whenever we are able. Life moves on, 
you just can't let it get in the way of living. 
B: Totally. 

Mark: We will be playing Chaos in Tejas and touring 
to San Francisco in June. Beyond that, plans will 
materialize. I think it can work— tour twice a year?! 

Lightning Round 

MRR: How many times is Grim Reaper going to 
see me in hell? 

Ruby: 39. 
Robert: 27. 
B: 35. 
Mark: 39! 

MRR: Why don't ice bears cry? 

B: It is cold and clear where they live— which I 
take to mean that their interpersonal relations and 
experiences of the burden of existence are not as 
sordid and tragic as ours. 
Mark: Forgot. 

Ruby: I. think ice bears cry all the time. Their shit is 
melting and they can't really adapt. B's a Heideggerian; 
of course he's going to see it that way. 

MRR: If I take you home will you still be in love 
with me? 

Ruby: Indeed. 

Robert: I wonder... 

B: There is only one way to find out. 

Mark: Possibly not. 

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Interview by Colin Defect, Translated by Fukoku, photos by Katie 


MRR: What is your name? What do you play? 

Fumito: I'm Fumito Yamazaki. I play guitar and sing. 

T-Boy: I'm T-Boy. I play guitar. 

Satoru: I'm Satoru. I play bass. 

Maru: I'm Maru. i play drums. 

MRR: How did your band start? 

Fumito: Me and Satoru were in the same high school and we were in 
a band called Scribbler. But we wanted to do another type of music, so 
we started Your Pest Band. 

MRR: How did T-Boy and Maru join the band? 

Fumito: I wasn't very good at playing guitar at that time. And I knew 
about f-Boy. So I called him and I said "Do you wanna play guitar?" He 
said "Yeah, I'll do it." Also I knew about Maru. Our first drummer didn't 
fit well, so I asked Maru to play drums. 

MRR: Why did you choose Your Pest Band as the name? 

Fumito: It's just a joke, it means nothing. 

MRR: How did you guys get into punk rock? 

Fumito: My brother led me into punk rock when I was in middle school. 

Maru: When I was in middle school, I listened to fast songs singing in 

Japanese and I thought it's punk and I like it. 

Satoru: Fumito led me into punk rock. 

T-Boy: I was influenced by a friend when I was in high school. 

MRR: How does Your Pest Band fit into the Tokyo punk scene? 

Fumito: I'd like to say that we don't fit into it at all. There are so many 
categories in the Tokyo punk scene. And invisible walls of relationships, 
how to approach. I don't want to be involved with it. So I always look at 
these scenes from far away. Maybe people don't accept us because of 
that. But I really don't care. I just play music. 

MRR: What would be your ideal Japanese punk rock show? 

Fumito: I just want to play music without. a scene and get attention from 

people. I don't expect punk rock scene unfortunately. 

Maru: I want more dirty girls to show up. 

Fumito: We don't often go on tour because we are busy with our jobs. But 

tour is really fun. So I hope more often Japanese bands can go on tour 

over seas. And more bands from overseas to come play shows in Japan. 

MRR: How did you meet Youichi? 

Fumito: When Youichi invited Drunken Boat to Japan, we played with 
them and I met him at that time. I also liked the bands from Youichi's 
label, so I often went to these bands' shows before I met him. 

MRR: What would you say Youichi's role is with Your Pest Band? 

Fumito: He does all of our office work. Releases records, makes tour 
plans. I just play shows, write songs, recording. That's all I'm interested 
in. And I'm not interested in all that office work, I don't even want to do it. 
So I really appreciate him. He's a super hero. 

MRR: Do you feel the punk scene in Japan is only influenced by 
itself, or are there a lot of outside influences from the world? 

Fumito: I think there ace both of them. I see many bands who are 
influenced from the world. At the same time I see many bands who are 
only influenced by Japanese bands. 


MRR: How did your US tour come about? 

Fumito: We toured with Holy Shit two years ago. We released a split 7" 
with them at that time. And then we released an album from Andy and 
Eric's label and Sniffy Smile. So it was time to go on tour. 

MRR: What is the tour like? How long is it? Where are you going? 

Fumito: Three weeks. 

Youichi: We started from Milwaukee, Chicago 
and then to the West Coast. And we're going 
down to the South, and to Florida, and come 
back to Milwaukee again. 

MRR: Who in Your Pest Band has been to the 
USA before? 

Fumito: Me and Satoru have been here in the 

MRR: Have you been much surprised? 

Fumito: Very surprised. House shows are 
impossible. So much fun. 
Maru: Everyone has long legs. 

MRR: What is your favorite food in the USA? 

Fumito: I have a lot of favorite foods. But donuts 

are disgusting. They're too sweet 

Maru: I don't like the donuts here. Too sweet. It's 

the worst. 

T-Boy: I don't have any favorite or disliked 

foods here. I just want to say that I'm big. So 

sometimes I'm out of breath, but I keep going. 

Satoru: Tacos. I like tacos. 

MRR: What is the reaction of people at 

Fumito: The reaction is way bigger than Japan. Maybe 30 times as big, 
so far. Some people came up to me after the show and they say "It was 
great." Nothing like this happens in Japan. So it's very fun to play in the 
USA. And each town has a different reaction from people. We got better 
reactions in small towns. 

MRR: Do people say "I have your records"? 

Youichi: A very few people. But people have said something more in , 
every place we have played so far. ' 

MRR: So you are touring with Holy Shit and they are a hardcore 

band and you are a punk rock band. Has that been difficult? 

Fumito: I don't feel anything like that so far. We just enjoy playing 
shows. So we don't have any problem. 

MRR: As an American, when I went to Japan, we all noticed that 
there it's really important to be honorable. Being Japanese and 
coming to the USA, do you feel like there is no honor in the USA, or 
do you feel like it's totally normal? 

Fumito: I feel the same way as you. I'm very 
honored to be here in the USA. 

MRR: How did the tsunami affect the punk 
rock scene? 

Fumito: We were going to go on tour with Shang- 
a-lang. But we had to cancel it. So many bands 
took action. People had a lot of benefit shows. 
Some of the bands released an anti-nuclear 
power compilation album. Everyone is doing 
what they can do. All of my friends who live in 
Sendai were OK, so I'm glad. But I'm still worried 
about the nuclear power problem. 

MRR: What are the bands in Tokyo that are 
like your brother bands that you play with all 
the time? 

Fumito: Hmmmmmm... None. We are lonely... 

MRR: Why do you sing in English? 

Fumito: The music that I listen to is mostly sung 
in English. When I make a song and imagine, 
there aren't Japanese lyrics in my head. So 
singing in English is very natural to me. 

:: What else do you do outside punk rock? What else makes 
you happy? 

Fumito: I play catch. 
Satoru: Mah Jong. 
Maru: Gambling. 
T-Boy: Eating. 

We got sent two Zyanose interviews at once! So here Ihey ore combined for 
your blown out brain? to digest; one from Zncli Flnnniy and one from Jesse 

MRR: Now... Zyanose, formed in 2002 while you were playing in 
Defector, right? 

Toyo: Yes, I was playing noise guitar in Defector at that time. I wanted 
to start another project, so 1 formed Zyanose. I just needed to create a 
sound that would destroy my oppressive feelings. 

MRR: Give us a little Zyanose history, and a discography up to 

35 now. 

;'; Toyo: It took a while for us to get around to the first gig because we 

• weren't too serious at first. It all happened because of boredom with 
everyday life and feeling like we had to take a stand against the banal - 

i ;. ity of it all. We started playing noisecore because we felt like it was the 

S best sound to represent how we felt. 

Releases: Supiroheater CDR (Confuse-style noise), Crossing 7" (a 
real depressing turn), Fuck split w/ Separations CDR (no comment), 
Lovele Ss 7" (our release after a member change. After the sad pass- 
ing of Kawakami Disclose we decided to use the d-beat from here on 
out). Insane Noise Raid CD/ LP (we had recorded lots of stuff with prior 

. < members, but this is all recorded with the current line-up. It took us 

ji about two years to finish!) Compilations: Yotsuvn 12" (representative I 
i of our current style), Heal Comp CD (we recorded and mastered our : 
track on this one ourselves). 

MRR: Okay, member profile time. How old are you? What's your I 
job? What record have you bought recently? What's your favorite \ 

Toyo: I'm 37. My job is top secret, I can't tell you!! I bought Damege J 

- Mouth to Mouth recently. My favorite drink is shochu mixed with 
cranberry juice. 

Sakana: I'm 30. I work at a garbage treatment plant. Last thing I I 
bought was the Warhead singles collection. I like beer. 
Illie: I'm 33. I'm in construction. Last things I bought were Onslaught j 

- Sounds of Violence, Avskum - Crucified by the System and Nasum - J 
Doombringer. 1 like beer too. 

MRR: Why did Zyanose wait until 2005 to put out the first CD-R I 
demo? Were you busy with other projects? 

Toyo: We were idling, hanging out much more than we were actually 
practicing. Actually, we were together for more than a year before we 
played an actual gig. We were totally slow at that time... haha. 

I started Zyanose with totally fucked up helpless guys so we 
weren't "honor students." It took some time before we were ready to 
play live. 

MRR: What happened to Defector and do you play in any other 
bands aside from Zyanose now? 

Toyo: For my own reasons I told the other members that 1 wanted to 
quit Defector. But we are still good friends! 1 had some other projects 1 
was a part of for a while, but right now I'm only in Zyanose. 

MRR: It has been said that you formed Zyanose with the idea of 
sounding like Confuse. Is Confuse still your main influence or do 
you have some new influences as well? 

Toyo: Confuse was a big influence when 1 started the band. However, 
no one can imitate Confuse. Now 1 take more influence from '90s Japa- 
nese Crust bands. Those bands were kind of my starting point. I saw 
those bands perform live quite often when I was young. Especially 
Gloom, they were insane! I'm enjoying different musical genres more 


as well. For example 1 told my band mates, "Ok, we should make 
this part sound like Radiohead". But as always, noisy sounds turn up 
anyway, haha. 

second EP Lovele SS was released. He is a liar 
and is always getting fired from bands. Yes, he was wonderful. 
Our old bass player, Yoshikawa, ran out on Zyanose. He stopped showing 
up after he ran into money and women trouble. It's a frequent occurrence 
in the world, so I don't care. In the end, nobody wanted to play noise- 
: guitar in Osaka. So, we finally decided "OK WE DON'T NEED GUITARS 

Actually we recorded this album three times before we were satisfied. 
It's not worth releasing an album you are unsatisfied with, eh? Plus, it 
took two years to finish recording! So, the tracks on this album were pro- 
duced by our current lineup. We tried and tried to take it as far as we could 
without guitar. 1 think we finally made an album that only we could have 

MRR: Will you be touring in the USA this summer or just playing the 
Chaos in Tejas festival? Is this your first time visiting the USA? 
Toyo: We're only performing at Tejas this time. This will also be my first 
visit outside of Japan. I'm hopeful that we can clear immigration without 
: ; any problems and not get lost! j 

I MRR: Chaos in Tejas usually gets pretty crazy, are you excited to be play- 

'■• Toyo: Yes, of course! 1 watched Chaos in Tejas shows on YouTube and it 
looks fun!! I never thought Zyanose would play Tejas, so we were sur- 
prised when we got the offer. We're excited to play and also excited to 
make new friends. We're looking forward to everything! We wanna bring 
our ultra-noise equipment with us, but frankly, it's impossible, so it's time 
to show everyone that it's not the amount of noise you play with, but how 
you play that's important! 

We heard American customs are pretty rough, so the big decision now 
is whether we should wear suits like traveling athletes or try and look cool 
like celebrities. If you see us at the airport, you might think, "those fucking 
assholes!!" hahha! 

Zyanose is unpopular in Osaka, but 1 heard from Hiroshi (D-Clone) 
that many people in USA want to see Zyanose. Is this true?? Why?? Are 
they crazy?? 

MRR: No they're not crazy You guys fuckin' rule!! Now, MCR Company ' ! 
just released the Noiz Cruster compilation featuring Zyanose and some 
other bands a few months ago. I've read that they are about to release a 
nine-track Zyanose cd next month. How many copies will be available? 

Toyo: One thousand copies of the CD were pressed. I've heard a lot of 
people are not into CD format, but I don't care at all. These 9 tracks will be 

r out on both CD and 12" vinyl. But, they are different mixes and mastering 
on both the CD and vinyl. I think both digital and analog formats have 

. their pros and cons. I want for people who prefer CD and people who 

H prefer vinyl to enjoy our sounds. 

ers? I've read the new CD was recorded with four people, but then 
changed to three people. Did someone quit Zyanose? 

Toyo: 1 do vocals and plays bass. Sakana does vocals and noise bass. 
Illie drums. It's just the three of us, no guitar. 1 used to play guitar in 
Defector, so it's not like nobody can play. .however, nobody was do- 
ing something like this, so we thought it was cooler with no guitar! 
We had a guitar player named Hatanaka, but he got fired after our 

Whispers in Darkness for some time now, but this hasn't happened yet. 
Is there anything you can tell us about the new 12" or is it still a secret? 

Toyo: When Lebenden Toten toured Japan for the first time, Frank offered 
to release our record and I agreed to it. Then, during Lebenden Toten's sec- 
ond Japanese tour, Frank asked when we could begin work on the record. 
I actually haven't forgotten about this, I am always thinking about it. I'm 
glad to finally see it happen in the near future! 

else, "Is that guy okay??" haha!! Despite all of this, I've been trying to 
change my mindset bit by bit recently, because we, ZYANOSE, really do 
want to go around the world! Our music is such a bomb-blast that we want 
to share it with everyone, because we know nobody else can do it like we 

IRR: Have you ever played outside of Japan? 

oyo: Nope.. .we rarely get to play outside of Osaka, our home town!! 
Ve wanna play a gig every day, but we're not that lucky yet. 

MRR: How is the punk scene where you live? How often do you 

get to play? 

Toyo: Where we live, Osaka, you've got discrimination, homeless- 

ness, crime, and a stand-up comedy industry all mixing together. 

Luckily, there's punk too!! 

We've got Punk And Destroy, the world's coolest punk record store. 

You can go drinking at Bar Ronton. Recently the King Cobra Squat 

(live and rehearsal space) opened up, which yours truly helped with 

the interior design on. 

My daily life is so boring, I'm driven to drink by myself every day. 
We're all busy with our jobs and families, but there is something spe- 
cial about Japanese culture. People are so easily brainwashed here by 
some kind of mass psychological effect, they break down so easily. If 
you look at our history, there was a point where everyone just started 
giving up when they had to challenge something and say, "There's 
nothing we can do." It's bullshit!! I'm no ideological nut or anything, 

MRR: So, when will you quit punk? 

Toyo: Everybody who keeps coming and going has already quit punk, but 
we're always going to be punks! We're the latest style, 2012 punks!! 

MRR: In the Distort Hackney interview you said that Zyanose were all 
working construction jobs? Is this still the case or do you have different 
jobs now? 

Toyo: Sakana is wearing a suit and working at a refuse dump, Illie has con- 
struction job, and I have a job which don't tell others about. The economic 
situation in Japan is still declining, but the people here are doing their best 
to continue playing in bands. Living in a tiny apartment, paying the studio 
for band practice, and playing gigs at reasonable venues. We simply just 
can't keep playing in bands without disgusting jobs. 

— — - , j 

Luckily, we get to play once or twice a month. If we're lucky, we 
can get audiences as big as seven people! Hahah!! Recently, we've 
started playing with emo/screamo bands and have blown their audi- 
ences' minds. The genre doesn't matter when we play with another 
band, because we're confident in who we are. 

There's lots of great bands in Osaka now. Nobody is as young as 
they used to be, so we're all getting a little tired, but there's been some 
younger bands popping up recently. Hopefully they'll hurry up and 
j put us out of our misery soon!! 

MRR: Lots of foreign bands have been touring Japan recently. Any- 
body in particular you really enjoyed? 

Toyo: They've all been pretty great, right? Personally, I'm a little dis- 
trustful of some punk people here which can make me nervous about 
connecting with newer people, so I haven't had a chance to commu- 
nicate with many of the foreign bands. 

Maybe this makes people think I'm a little unfriendly. .the first 
time Frank from Lebenden Toten met me, he had to ask somebody 

,, to ask what plans Zyanose have for the future. Any tours, releases, or 

I crazy gigs you can tell us about? 

I Toyo: We're done already?! We will »l I I 

| start recording for our next 12" in ( | y\\l» 1/4 f* « 

j April of 2012. I'm not sure when O" 

1 it'll be out though. Our sound has **, 

I changed after every release but the , 1 

I next one will be noisy for sure. We're ^ 

!also releasing an early discography 
LP on 540 Records at Tejas. It would 
be good if we could tour, but we 
want to wait until we have enough g _, 

time and money! 

MRR: Any last words? 
Toyo: Thanks for the interview! Re- 
member when you left Japan, Jesse, 
and we played the Beastie Boys' 
"Fight For Your Right" together? 
Your singing was great! Fuck, we can 
talk about anything, right?? Hahah! 
Anyway, everybody remember 
that you shouldn't be fighting with 
boredom and frustration everyday. 
Having fun is the most important 
thing you can do with yourselves! 

D s 



m i n 




is the author of Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generation, a book 
that documents and celebrates punk show flyers from the 1980s to the present. He sees the creation of punk 
posters as the democratization of visual art. In the same way that punks often start bands before they know 
how to play their instruments, we also make flyers without necessarily knowing the first thing about art or 
graphic design. The results reflect the urgency, rawness, inept genius and humor that is punk rock. In his 
book, we get to see flyers for shows featuring The Damned, Adolescents, Big Boys, JFA, Minor Threat, Circle 
Jerks, Black Flag, and more. Ensminger uses these ephemeral mementos to piece together a personal and 
general history of punk rock, and he makes sure to include the contributions of women, queers and people of 
color along the way. 

Interview by Osa Atoe 


MRR: Okay, you say in your book that you were inspired to 
write Visual vitriol after reading Fucked Up & Photocopied. 

David: Yes, indeed. The book is majestic and utterly the definition 
of "terrible beauty." I never wanted to compete with the visuals in 
that book, or the anecdotes. I simply wanted to dig deep, provide 
context and history, plus use flyers as a folklore departure point 
to discuss the entire subculture, anchored in handmade DIY 

MRR: I never got to read Fucked Up & Photocopied, and 
now it's out of print. Tell us who the authors were and more 
specifically what you wanted to add to the conversation 
about punk flyer art that they may not have touched on. 

David: It's essentially a compilation of flyers and anecdotes 
about punk compiled by several people. It simply lacked a critical 
analysis or a historical perspective beyond the memories of a few 
people, like Jello Biafra and Winston Smith. I wanted to place 
flyers into a greater arc of street art, from stencils to graffiti, to 
suggest that punk was about creating media spaces — to forge 
empowering outlets in the already contested spaces of cities 
overrun with images, mostly commercial and municipal. To me, 
flyers are the folklore of that entire generation: they preserve mini- 
histories and provided an array of djscussion points, including the 
cost of punk shows, the locations of clubs, the style and aesthetic 
of the artists, the contemporary news or politics of the time, etc. 
Flyers offer us insight and viewpoints, not just nostalgia trips, not 
just gore and shock and ugliness. Plus, they help document the 
participation of women, gays and lesbians, and people of color. 
They are essentially a way to re-frame, re-assess, and reset the 
narrative about punk. 

MRR: You touch on the obsolescence of flyers in the age of 
the Internet. Similarly, there has just been a ban on telephone 



pole f lyering here in New Orleans. How do you think these 
kinds of changes affect the creation of media spaces you're 
talking about? 

David: Such closure and lockdown are omnipresent in many cities 
inundated with monitoring and surveillance. That same restriction 
is a breeding ground that stirs people's actions. Recently, street 
art has flourished, in all forms, in places like Houston because 
kids no longer feel their voice matters, or perhaps they feel their 
voice is lost in the terrain of the Internet, among the faceless 
multitudes. Kids will always "speak back," and some will "hide in 
the light," in the actions of aerosol cans and dripping stencils or 
peeled back stickers. They will push back, if they can muster the 
freedom, resources, and sense of voice. To ban their expressions, 
en masse, is to tell them to find new ways to trigger and explore 
creativity. Authorities often believe such gentrification is a cleansing 
cure. Kids think of it as a catalyst — their feats will therefore invite 
even more attention, the work will be crowded with danger or at 
least the allure of it, and their voice gain more magnetism among 
their peers. Authorities literally pave the path to rebellion; instead, 
they could offer sanctioned public spaces, allotments of important 
resources, or at least dialogue with them, but most often they 
choose to turn street art into a form of criminality, not recognize it as 
a self-made media space being harnessed by both the desperate 
and the bored, or the talented and the tenacious youth. 

MRR: Where did you grow up and where were you when you 
found out about punk? 

David: I grew up in Rockford, IL, the hometown of Cheap Trick. 
It was a fading industrial rust belt city with strong punk traditions 
during the mid-1980s. The Ramones and Nerves played there in 
the late 1970s, so I always joke with Peter Case that he was down 
the street, literally, while I was in my pajamas, changing the face 
and content of modern music. I owe my punk education entirely 

to my brother and sister— so punk rock was family values, to 
me, even though my parents were Reagan Democrats. My sister 
blasted Iggy Pop and David Bowie before high school, scratched 
my Ramones records at parties, and took me to the local ma and 
pa record shops. My brother was ten years older, saw both the 
Cramps and Black Flag during their first tours, and brought me 
home singles, fanzines, and folklore from the punk rock urban 
night — Chicago, in its seedy underbelly glory, when bands like the 
Effigies and Naked Raygun were forging their sounds. By the time 
I was in fifth grade, I wrote a bio for class on Johnny Rotten and 
starting playing plastic potato chip containers as drums, eventually 
learning "1969" by The Stooges. My life is ... essentially the same 

MRR: Reading your book, I realized that our standpoints 
are pretty opposite in terms of the way we view punk rock. 
I am a black woman who grew up in a very multicultural 
and multiracial environment and found punk to be racially 
homogenous compared to my upbringing. You on the other 
hand grew up in a predominantly white community and 
found that punk rock helped you meet all kinds of people you 
may never have met otherwise. What draws you to focus on 
women, queer folks and people of color within punk rock? 
David: That aspect of my work — multiculturalism and diversity — 
really aggravates many white punks, who let me know, with vitriol, 
in emails and other forms. They blame me for stirring tension, 
resentment, and being the real racist for "seeing color." Being 
color blind is a myth and fantasy, a hoax, or has often been part 
of a narrative used to defend underlying reactionary politics— nor 
to make changes, tear down barriers of all types, and seek real 
institutional and cultural progress and parity. Of course, I do not 
speak for everyone, nor do I presume that my experiences were 
shared by others. Simply put, I do not enjoy seeing my friends 
disappear from the narrative of punk, buried under a heap of 
cliches, misinformation, or slanted views. I play music, right now, 
with lesbian and Hispanic women in No Love Less, my brother is 
gay, and my wives have enjoyed punk, in their own distinct ways, 
as well. Yet, most texts concerning punk routinely ignore them, as 
they ignore you, even though I listened to Fire Party, and Red C, 
with black women, and saw the Bellrays triumph on stage. On my 
black punk web archive, I have indexed over 500 images relating to 
black participation in punk history, and that is the single collection 
of a lone person, so the actual truth is much more vast: Though I 
grew up in the Midwest, we lived in a sheltered suburb, so I had 
only three black friends, and only one in my own housing tract, 
Chris, who grew up loving theatre and later enjoying Shudder to 
Think. When Kingface played a gig with my band at the local roller 
rink, the black drummer was kind, outgoing, and supportive,. as 
was Shawn from Swiz, when they stayed at my parents' house. 
These were the only two adult black men I had ever met at the 
Thev impacted mv life. I even gave Shawn a copv of a 





Big Black record, with Steve Albini. They were critical shapers of 
my perspective. All the anti-racist positive punk songs in the world 
matter little compared to actually forging bonds with different people, 
who can shift your historic perspectives. I could not really gauge 
my own racism, or simply my immersion in a racist society, until 
really talking, listening, and sharing spaces with such people. When 
writing this book, I asked myself: What has been denied, what has 
been undiscovered, what has been buried? Women, blacks and 
Hispanics, and gays and lesbians— the same people that educated 
me, that shared gigs and records and dreams with me, that were 
my proto-family. I am not going to erase them. I will fill-in the gaps in 
history, and let people sort out their own versions of events. 

MRR: Speaking of your queer friends, you were close to Randy 
"Biscuit" Turner of Biscuit Bombs. Big Boys flyers always 
stand apart from other '80s hardcore flyers in terms of their 
style. How would you describe Randy's approach to flyer art? 

David: Yes, I was his drummer, editor, and close comrade the last 
six years of his life. We played Austin just two weeks ago, and I 
dedicated "New Nation" to him, partly because he died lacking 
resources and health care, which I find shameful, but because he 
was an embodiment of punk DIY handmade art whose career was 
cruelly cut short. Randy was old school: he never used typewriters 
or a computer. His work represents the naive, crude, raw and 
sophisticated and surreal, at the same time. He really believed in 
the traditions of the avant-garde, and though of Dali and others as 
peers, icons, and heroes. Whereas other artists might use angry 
wolves, skull-laden death landscapes, screaming terrified victims, 
or other gore and horror tropes, Randy used poodles having sex, 
a brain oozing with the words Fun Fun Fun, child-like drawings, 
wonky collages, and more. There was a palpable sense of joy, not 
just angst, to his entire output. He was restless, dedicated, and 
an insomniac who kept a clean house, shopped for trinkets and 
cast-offs, glitter and toys, and made music that sounded like a 
church boy raised on gospel and punk. Those traits filtered into his 
visual aesthetic. He was loose and carnival-like, not tightly coiled, 
illustrating the mean streets, of punk. For him, punk was a dance 
revolution, an art bomb, not just a reason to sell angry 45s, the rare 
vintage vinyl of venality and ennui. 

MRR: Thanks for your time, David. Anything else you'd like to 

David: As Biscuit would say, go start a band, make a zine, create a 
flyer, move your butt! 



Shotgun Seamstress Zine 

PO Box 792372 

New Orleans, LA 70179 

Read full issues of Shotgun Seamstress here: 




luimdi an JUIIM 











It was the end of the '90s, the premises of the Workers' Revolutionary Party 
(PRT) at Dos de Mayo, the proletarian square, was filled with people wearing 
leather jackets and with spiked hair. The circle-A stood out against the red 
socialist symbols and, instead of worker's slogans and demands, there was the 
sound of the distorted chords of Eutanasia's punk rock. 

It was a special show because it was the last one of the bands that had 
marked the rhythm of the crisis in Peru during the '80s. I remember people 
dancing pogo and singing along to "Tratas de Buscar Algo," "iY nosotros que?" 
and "Ratas Callejeras," the anthems of the desperate youth. 

The energy in the audience was intense because we knew many years could 
pass before seeing them on stage again. I was there waiting for the chance to 
talk to Nico M, the guitarist, and Jose "el Auxilio," the drummer, about the break 
up of a band that had been so important to us. 

I remember we sat down on the floor near the venue entrance. Nico M«and 
el Auxilio, leaning against the wall waited for my questions, which consisted of 
what Eutanasia had meant for them. I don't remember their answers very well; 
I just know that I gave the recording to a friend who had put me in charge of 
interviewing the band for his zine. This interview was never published because 
the zine never came out; my friend lost the tape or maybe he recorded over it. 

What I can remember from that night and the conversation, is that Eutanasia 
had left their mark on a generation that had grown up in the midst of blackouts 
and car bombs; or maybe they were the pure expression of those unsettling 
times. For Nico M and el Auxilio, the band was a group of three friends that had 
the need of expressing themselves in the face of the times they were living in and 
punk rock was the instrument they had more access to. 

There was another show in Barrios Altos, to which I could not go. A few 
months later, Jose "el Auxilio" travelled to Japan. Eutanasia would play once 
more at the premises of the wprker's union of CARBOLAN with Rodolfo "el loco" 
Poggi— the drummer from the band Exilio — that would be their last show, they 
never played again. Months later, "el Pelado" Kike (the singer) and Pepe Asfixia 
(the bassist) travelled to Germany; a few months after Nico did so as well. 


Era fines de 1990, el local del Partido Revolucionario de los 
Trabajadores (PRT) de la proletaria plaza Dos de Mayo, se 
encontraba repleta de casacas de cuero y pelos parados. Las A 
de anarquia, destacaba entre la simbologia roja del socialismo, 
y en vez de consignas y reivindicaciones obreras, sonaban los 
distorsionados acordes del punk rock de Eutanasia. 

Era un concierto especial, porque seria el ultimo de una de 
las bandas que habian marcado el ritmo de la crisis en el Peru 
de la decada de los ochenta. Recuerdo a la gente pogueando 
y coreando las canciones Trafas de Buscar Algo, iY nosotros 
que?, o Ratas Callejeras, los himnos de una juventud 

La energia fue intensa, porque sabiamos que podrian pasar 
muchos afios antes de volverlos a ver, sobre un escenario. 
Entre ellos me encontraba yo, esperando el momento para 
conversar con Nico M y Jose "el Auxilio", guitarrista y baterista 
respectivamente, sobre el final de una banda tan importante 
para muchos. 

Recuerdo que nos sentamos en el piso casi a la entrada del 
local. Nico y el Auxilio apoyados contra la pared, esperaban 
mis preguntas que se basaron en lo que habia significado 
Eutanasia para ellos. No recuerdo muy bien las respuestas, 
solo se que la grabacion se la entregue a un amigo que me 
habia encargado esa entrevista para su fanzine. La entrevista 
nunca fue publicada, porque el fanzine nunca vio la luz, y el 
amigo habria de perder el casete. O quizas habria de grabar 
algo encima. 

Lo que puedo rescatar de esa noche y esa conversa, es que 
Eutanasia habia dejado huella en muchos de una generacion 
que habia crecido en medio de apagones y coches bomba. O 
quizas eran la expresion pura de esos tiempos convulsionados. 
Para Nico M y el Auxilio, la banda era un grupo de amigos que 
tenian muchas ganas de decir lo que sentian frente al tiempo 
que les habia tocado vivir. Y el punk rock fue el instrumento que 

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There was a lot of speculation regarding their departure; 
some spoke about police threats against the band members. 
The police had been overtly repressing a year after the coup 
to Alberto Fujimori. A lot of it is true, but there was also the 
urge to look for a future in other countries given that their own 
offered nothing but inflation, unemployment, and terrorism. 
There was also an apocalyptic package of economic reforms 
through which the prices of goods tripled overnight. 

When the demo tape Sentimientos de Agitacion (Feelings 
of Agitation) came out, many of us knew that a part of our 
youth would be reflected in its thirteen songs. We also had 
some Recordings of shows where Eutanasia displayed the 
strength of their project. At el Hueko de Santa Beatriz (a kind 
of squat house); at la Pena Huascaran; or any other venue 
where they played in Lima, we were there with our recorders 
willing to document those crucial times. 

Out of all recordings, the one that best reflects Eutanasia's 
onstage performance was of the show El Otro Rock in 1987 
at Hertrude Hans School. I got into that show when a squad 
called Fuerza de Choque (Shock Force) called Bandera 
Negra (Black Flag), whose members were very radical, 
pushed through the gates and everyone got in. Because of 
feelings that the show reflected, part of the performance was 
used in the outro of their demo tape. 

Years later, I lost that tape when I lent it to a friend who 
didn't return it. Afterwards, I bought it and lost it again. After 
that, I got the CD, and more recently I downloaded it from the 
internet. In any format, listening to each one of their tracks 
reminded me of what the past had been when we thought 
we had no future. It also brought me back to the time when 
I wrote the novel Generation Cochebomba (Generation Car 
Bomb), which is about those years and about the people or 
"undergrounds" or "subterraneo" (as the rebellious concert- 
going youth from Peru in the ;80s was called). 

For some years, rumors that Eutanasia was getting back 
together circulated around the punk scene in Lima, especially 
around the people that had been following them since the 
'80s. However, I found it hard to believe; Jose "el Auxilio" was 
living in Japan, "el Pelado" Kike and Pepe Asfixia in Germany, 
and Nico M in Spain. At what moment would they coincide 
in Lima? They all had children and obligations — it seemed 

tenian mas a la mano. 

Hubo un concierto mas en Barrios Altos, al cual no pude asistir. Pocos meses 
despues Jose "el auxilio", partiria a Japon. Eutanasia tocaria una vez mas en el 
local de! sindicato de obreros CARBOLAN, con el baterista de la banda Exilio, 
Rodolfo el loco Poggi. Ese seria el ultimo concierto, porque no volverian a tocar 
mas. Meses despues el pelado Kike y el Pepe Asfixia viajarian a Alemania. Nico M 
lo haria pocos meses despues. 

Mucho se especulo sobre esa partida. Se hablo de amenazas hacia los 
miembros de la banda por parte de la policia, que ya se perfilaba a reprimir con 
carta abierta, a un ano del golpe de Alberto Fujimori. Mucho de cierto hubo en 
eso, pero tambien la urgencia de buscarse un futuro en otros paises, ya que el 
propio no te ofrecia mas que inflacion monetaria, desempleo y terrorismo. Y un 
apocaliptico paquetazo economico, en donde los precios de las cosas subieron al 
triple de su valor de la noche a la mafiana. 

Cuando salio el casete Sentimiento de Agitacion, muchos supimos que parte 
de nuestra juventud, estaria reflejada en las trece canciones que traia. Por ahi 
poseiamos algunas grabaciones de conciertos, donde Eutanasia demostraba toda 
la fuerza de su propuesta. En El Hueko de Santa Beatriz (especie de Squat), en 
la pena Huascaran, o en cualquier lugar de Lima donde tocaran, ahi estabamos 
presentes, y con las grabadoras dispuestas a registrar esos momentos cruciales. 

Pero de todas ellas, la grabacion que mejor refleja la performance de Eutanasia 
sobre los escenarios, es el concierto llamado El Otro Rock de 1987, en el colegio 
Hertrude Hans. Concierto al que entre cuando esa especie de fuerza de choque 
llamada Bandera Negra, integrada porgente bastante radical, empujaron el porton 
y pudimos entrar todos. El sentimiento que refleja ese concierto sirvio para que 
parte de esa performance fuese usada como Outro en la maqueta de la banda. 

Afios despues perderia ese casete cuando lo preste a algun amigo que no 



impossible. Even in 2010 when Kike went back to Lima and confirmed it, I couldn't 
believe it. 

In the face of this question, I used to say that I could only be certain if I saw all four 
of them in Lima. This didn't take long; by the end of 201 1 , they came back to remind us 
of the nights at el Hueko de Santa Beatriz, the pogo dancing at la Pena-de Huascaran, 
and the drinks at those shows that took place in the poorer areas of Lima. These were 
places where no other band went and where the shows ended up with fights, most 
times against people that didn't understand the protest of those strange kids dressed 
in black and wearing combat boots. 

The chosen venue was the bar Etnias; there I saw old and young faces who know 
Eutanasia. Among the other bands that played were Aeropajitas, Barrio Calavera, 
KADE, and Pateando Tu Kara. The pogo-ing was as brutal as in those years back at 
el Hueko. when the audience consisted of 200 people jumping and pushing each other 
until losing their consciousness. It was a night of sensations that had been felt many 
years before. It was the reaffirmation of what we felt when we were teenagers. That's 
what the anthems that mark you are for, and Eutanasia sang many of them. 

Even if it is difficult for Eutanasia to continue making music in Peru, they don't rule 
out returning every once in a while to play shows and record new tunes. So far they've 
played in central Peru, in cities like Trujillo, Arequipa, and the millenary city of Cusco. 

Their return to the stage has been meWntioned in the media around the country, 
reminding everyone of the importance they had for punk rock made in Peru and the 
importance of their message as a reflection of what was going on in the country. Even 
more so, in those years when mainstream rock was characterized by conformity, 
commercialism, complacency and apparent innocence, while in the streets many were 
dying of hunger or political violence. 

One of their objectives is to release new tracks for a new record with different 
rhythms but within the style of punk rock that characterizes them. Good for them. For 
me the memories of having seeing them in their last shows, and to be around them 
20 years later to pogo and sing along to the desperate choruses that characterize my 
generation will remain. 


me lo devolvio. Posteriormente lo volvi a adquirir y 
lo volvi a perder. Luego lo compraria en formato de 
CD. Y ultimamente lo he bajado del internet. De 
cualquier forma, escuchar cada uno de sus temas, me 
sirvieron para recordar lo que habia sido el pasado, 
cuando sentiamos que no habia future Sobre todo 
cuando escribi mi novela Generation cochebomba, 
que trata sobre esos anos y sobre la gente que iba 
a los conciertos punks, o subterraneos, como asi se 
denominaba a la juventud rebelde de los ochenta en el 

Desde hace unos anos los rumores de que 
Eutanasia iba a volver a los escenarios, corria entre' 
los circuitos punks de Lima, sobre todo entre aquellos 
que los seguimos desde los ochenta. Pero yo lo veia 
como algo dificil de concretar. Jose "el Auxilio" vivia en 
Japon, el pelado Kike y Pepe Asfixia en Alemania, y 
Nico M en Espafia. ^En que momenta podian coincidir 
en Lima?. Todos ellos con hijos, y obligaciones, como 
que se hacia casi imposible. Incluso cuando el 2010, 
Kike, estuvo de vuelta en Lima, y me confirmo que ya 
estaba todo listo, no podia quitarme las dudas. 

Ante las preguntas, yo decia que cuando vea a 
los cuatro en Lima, recien podria estar seguro. Y no 
habria de pasar mucho tiempo. A fines del 2011 se 
hicieron presente para hacernos recordar las noches 
en el Hueko de Santa Beatriz, los pogos en la pefia 
Huascaran, los tragos en esos conciertos en los 
rincones mas marginales de Lima, lugares a donde 
ninguna banda iba, y que casi siempre terminaban 
en peleas, contra la gente comun que no entendia 
la protesta de esos extrafios muchachos de negro y 
botas militares. 

El lugar elegido fue el bar ETNIAS. Y me reencontre 
con varias caras ahejas y con bastantes jovenes de 
ahora que gustan de Eutanasia. Tambien tocaron las 
bandas Aeropajitas, Barrio Calavera, KADE, Pateando 
Tu Kara, entre otras. Y el pogo fue tan brutal como en 
los anos en que una sala del Hueko de Santa Beatriz, 
albergaba a doscientos espectadores que saltaban y se 
empujaban, hasta perder la conciencia. Una noche de 
sensaciones, ya sentidas hace muchos anos. Tambien 
de reafirmacion de aquello que sentiamos cuando 
eramos adolescentes. Para eso son los himnos que te 
marcan la vida. Y Eutanasia canto varios de ellos. 

Si bien es dificil que continuen en el Peru haciendo 

su musica, ellos no descartan volver cada cierto tiempo 

para seguir tocando, y grabar nuevos temas. Por lo 

pronto nan tocado en las ciudades del interior del 

Peru como Trujillo, Arequipa y la milenaria ciudad 

del Cusco. 

Su retorno 
a los escenarios ha sido comentado en muchos 
medios del pais. En todos ellos rescatan la 
importancia que tuvieron para el punk rock hecho 
en el Peru y la importancia de su mensaje como 
reflejo de lo que estaba sucediendo en el pais. 
Mas aim, en esos anos de un rock oficial que 
se caracterizaba por ser conformista, comercial, 
complaciente y que pecaba de inocenton. 
Cuando en las calles moria gente de hambre o 
por la violencia politics. 

Entre sus 
v objetivos es sacar nuevos temas, para un nuevo 
| disco, con ritmos distintos, pero dentro del punk 
rock que los caracteriza. Bien por ellos. Para mi 
me quedara el recuerdo de haberlos visto en sus 
ultimos conciertos y estar presente en su retorno, 
veinte anos despues, para poguear y cantar, los 
coros desesperados, que son la caracteristica de 
mi generacion. 




fc*s*^ "*"• ~*F 





', ( r^s .„-<*. ^ 

ife 1 *-'?! 











• > 

& '„ 

Blasting their way out of the countryside 
town of Tsuyama, Japan, Skizophrenia are 
raw, fast and loud punkers coming all the 
way to Chaos in Tejas this year! With catchy 
songs that stick in your head for days and 
friendly attitudes towards everyone, these 
are guys you don't want to miss! 
Interview by Jesse Conway 

MRR: Tell us about Skizophrenia. 
When did you start playing? Who does 
what? What's your discography up to 
this point? 

Skizo: We started in 2003. Yu (30 years 
old) does vocals. Iso (29) plays guitar. 
Yoshio (30) plays bass. Ushiroda (30) 
plays drums. 

Here's what we've released up to now: 
3-Trax demo cassette, Freedom Land demo 
cassette, Raw Punk E.A.T.E.R. 7" and most 
recently, a self-titled 7". We also have 
tracks on a lot of comps, like Sound or 
Music CD, The Action 7", The Future Is In 
Our Hands 7", Hardcore Inferno LP, Step 
Into the Light LP and HEAL Comp. CD. 

MRR: A little more personal now, what 
do you do for money? What's the 
last record you bought? What's your 
favorite drink? 

Yu: I work construction. Last thing I 
bought was the Piranha tour 7" (the 

Knockers, Comix, Bad Dirty Hate). My 
favorite drinks are Asahi Super Dry Beer 
and Kurokirishima shochu. 
Iso: I do construction too. I bought the 
Blue Vomit LP recently. I like the same 
drinks as Yu, Asahi and Kurokirishima. 
Yoshio: Haha, I don't work! Last thing 
I bought was the Piranha tour 7". I love 

Ushiroda: I do silk-screening for work. 
Last thing I bought was a Disturd 7". My 
favorite drink is green tea. 

MRR: Have you ever played outside of 

Skizo: Chaos in Tejas will be our first time 
playing outside Japan. 

MRR: How's punk in your town? How 
often can you see gigs? 

Skizo: Even though we live out in the 
country, our town, Tsuyama, has lots of 
bands. We play with Death Dust Extractor, 
Last, Massgrave, Obstinacy, the Go and 
Black Humor Control often. I can't really 
say if our scene is "cool" one way or the 
other, but I know that I'm excited to be 
here and gigs are rarely dull. We end up 
having about one big punk show a month 
here in Tsuyama. One thing I'm real 
thankful for is that over the past couple of 
years lots of foreign bands have included 

us on their tours. We always love to have 
them here! 

MRR: Lots of foreign bands have 
toured Japan recently. Anybody in 
particular stick out to you guys? 

Skizo: We've gotten to play with lots of 
foreign bands when they come through. 
Everyone has been great and we really, 
enjoyed Mauser (USA), who played 
here recently. We're glad we get to play 
together again at Chaos in Tejas. Last year 
we were lucky enough to tour with Mob 47 
when they came to Japan. Every night was 
a thriller! 

MRR: So what are you looking forward 
to doing at Chaos in Tejas? 

Skizo: Everything, really! It looks like they 
aren't too many bands like us playing, but 
that makes it even more exciting. Our goal 
is to play our best raw punk style and drink 
with lots of punks! 

MRR: So, when will you quit punk? 

Skizo: Punk is an incurable disease, my 
friend. I don't think we'll ever recover. 

MRR: Any last words? 

Skizo: Take back the future from them! 



lima -^Sru _'Cn/i 


|l Hailing from Oakland, Negative Standards is a punk band 
" that showcases everything dark, heavy, and angry about 
the overarching genre. Mixing varying parts of Japanese 
hardcore, doom, D-beat, psych, stoney powerviolence, 
and depressive black metal over a solid crust foundation, 
the band plays a hybrid style punctuated with noise and 
samples. Live shows add visual elements, most notably 
television sets broadcasting an often disturbing barrage 
of odd and psychedelic film clips. After a couple years 
of fine-tuning their sound and shorter coastal tours, the 
band has two vinyl releases out this year (Vendetta, Halo 
of Flies/Cop Grave/Gay Scientist) and a full US/Canada 
tour in May and June. The grim kids are stoked. 
Interview by Brad Lambert 

MRR: Introduce yourselves. 

Max: I'm Max, I play drums and that's it 
Will R: I'm Will, I sing and do noise and sam- 

Will B: I'm also Will and I play bass. 
Al: I'm also Will and I play guitar. 

MRR: So what's your best Will pun? 

ALWe're not allowed to tell those. 

Max: They beat me when I say. 

Al: We have severe problems when we tell 

them because then we get kicked out of the 


Max: They'll make me sleep in the bass drum 


AhYou WILL sleep in the bass drum tonight. 

MRR: How do you differentiate be- 
tween the Wills? 

Max: Well, you've got Useless Will, or Will... 
what else have we called you? 
Will B: There was Upstairs Will, then it be- 
came Downstairs Will because I switched 
rooms and floors with the other Will and that 
was confusing. 
Max: Now you're Other House Will. 

MRR: How did you get the name 
Useless Will? 

Will B: I don't really want to get into that too 
much. Let's just say there was a time when I 
was less useful than I am now. 

MRR: How long have you been a 

Max: I don't really know, I mean, well, we 
played kinda... 

AhThe answer is two and a half years. 
Will R:Yeah that's about right. 
Will B: Originally Will wrote some songs be- 
cause he had pneumonia and it was just me 
and him for a while and we had another drum- 
mer for about two and a half weeks maybe. 
Max: Yeah I hate that guy. 
Will R: I was angry and stuck in my room for 
about two months. . . 

Will B:While missing a tour with Acts Of Sedi- 
tion because of the pneumonia. 
Al: I got to go on that tour, it was a no-pants 
party. It was great. Acts Of Sedition and Sepa- 
ration, except it was just me as Acts Of Sedi- 
tion, and by "as Acts Of Sedition," I mean sit- 
ting in front of a stove, selling merch. 
Max:There was a stove at every show? 

Will B: Was this through the Northwest? 
There's a lot of stoves there. 
Al: No. 

MRR: Negative Standards mixes a lot 
of styles in songs, to the point where 



> am? 

the music is hard to define. So what 
kind of music does the band play? 

Max: What did the woman at the who booked 

our show in Sacramento call us? 

Will B: Oh yeah, you meanVideodrome Punk? 

Al: Depending on who you ask, you're going to 

get a different answer on what we think are 

band is, because there are so many different 

components to the music that we make that 

it doesn't make sense to say like a five-word 


Will B:You sound like a really big nerd. 

Max: Which is fine. 

MRR: So I realize it's hard to de- 
scribe your band's sound in a few 
words but could you narrow it down 
to five influences? 

Max: (laughing) OkTragedy, His Hero Is Gone, 

From Ashes Rise... 

Will B:Warcry! 

AhWith this particular band, because we have 

so many varying styles in just one song alone, 

trying to like, give five influences in my mind 


MRR: Ok sorry, bad question. 

Max: Wait, Will has five. 
Will B: For me, a couple of the reference 
points are Scandinavian D-beat and crust stuff, 
doom metal of various kinds. I don't know. 
AhThat's the major part of it, the bulk of it at 
least And there's a lot of influence from our 
different experiences. 
Will B:And Japanese hardcore. 
Max:And fuckin' youth crew bro. 
Will B:Yeah we did get called a youth crew 
D-beat band recently by Noah from Stres- 
sors and I was really stoked and horrified by 
that. And on our tape and our new stuff we 
also have a little bit of ambient black metally- 
leaning stuff. I know that for me, moving here 
and seeing them a lot, that band Fell Voices is 

a huge influence for me as far as getting into 

that kind of music and the riffs that we write 

for this band. 

AI:Also Bolt Thrower. 

Will R:Also all things Greg Wilkinson. 

MRR: Fuck yeah, Greg Wilkinson 
from Brainoil, the wizard of the East 
Bay. What's going on in the Bay Area 
scene right now, who are the rad 

Will R:There is so much right now... 
Max: It's pretty rad, there's a lot of really really 
awesome metal. The death metal bands that 
are playing right now are fucking sick as fuck. 
Bruxers, Acephalix, Vastum on the doomier 
side, this mystery sword band called CAFFA, 
and Mortuous, this is amazing, amazing shit. 
Especially for me, coming from the suburbs 
where all death metal sounded like it was 
made by computers. Fucking Lycus. 
Will B:We haven't played with them. 
Max: But they're awesome. 
^ Will B:We should play at their house some- 

Will B: There are a couple friend bands that 
we play with a lot like Stares and Ordstro, 
we did a half tour with them and play with all 
those bands a bunch. 

Max: Raw Nerves, we did some touring with 
them and it was cool. 

Will B: Brainoil definitely. We got to play with 
them recently and that was a huge deal for 
me. That was one of the first bands I got into 
when I moved out here. 

MRR: Yeah, I was there, it was at Gil- 
man. You've been playing a lot of the 
bigger heavy shows there lately. 

Will B:Yeah, for that show, Thou and The Body 
were on tour and Brainoil and Swamp Witch, 
who are friends or ours, played. 

Al: I was stoked on the Ceremony show 


Will B:That show was incredible. 

Will R: It was really good. 

Max: Hell yeah, Extortion is one of the fuckin' 

best fast bands I've ever seen. 

Will R:Any show where Punch plays second, 

you know it's fucking ridiculous. 

Will B: And playing with Iron Lung was really 

cool too, that was pretty surreal. 

Max: I can't believe I played on Jensen's bass 

drum, and I totally texted someone that I was 

playing on Jensen's bass drum. 

AhWhile fucking playing it? 

Will B:That's why that song was fucked up. 

Max: He was amused, it was fine. 

Will B:We also played with Warcry and Kro- 

mosom which was one of the best shows that 

I've seen. 

Will R:That guy is fucking insane. 

Will B: From Kromosom? Yeah, amazing. 

MRR: How has the band evolved 
since you started out? 

Will B: It's really weird to listen to or even 
think about shows we played two years ago. 
Like say on our first tour when we found we 
were going on tour on two weeks notice and 
really quickly polished up the songs we knew. 
Versus now we have video monitors. And the 
songs, really there's some similarities but we 
really don't sound anything like the band that 
we were two years ago. There's a lot more 
bigness to the songs and they're more com- 

Will R: I am not a guitar player and the original | 
batch of songs were very much just"Let's start 
a fast, loud, down tuned D-beat punk band" , 
and was the starting point and then everyone j 
just kept buying more pedals and it just got 
weirder and weirder. And we're glossing over 
the drum machine part pretty well. 
Max: Oh god, that fucking school tour is how 

I remember it. Every tour is better than our 
first tour because I don't have to go to class. 
I was on about half the tour because I would 
I have to go out and play some shows and then 

hop on a Greyhound and go back to Connecti- 
cut and go to class for a couple days and then 
hop on a Greyhound and go to wherever they 
were at, for like two weeks, then I slept for 
three days. It was pretty awesome. 
Will B: Meanwhile we played to a bunch of re- 
ally confused people with a D-beat band with 
a drum machine and a lot of people blinked a 
ALActually too much. 

MRR: You guys are all very active in 
the scene, what are some other proj- 
ects you're working on? 

Will B: Some people have been spreading a ru- 
mor that I sing for a band called Connoisseur 
from Oakland. I'm not going to confirm or 
deny that in order to create more mysterious 
hype for that band. But I do want to say... shit, 
that I'm too fucking high to think of something 
clever about that band. 
WillR:Weedmind... , 

Al: I play guitar in Acts Of Sedition and I play 
bass in a band called PILLS and they're both 
incredibly fun. 

Will R: I play bass and sing in Acts Of Sedition 
and I play bass in Reivers. 
Max: I used to play guitar in Dead Eyes un- 
til about two weeks ago and now myself and 
Marlow, who played drums in Dead Eyes, are 
starting a new project called Empty Rooms. 
Bringing the krautrock back into mid-tempo 

Will R: Acts Of Sedition also has a collective 
record label that we run called Penguin Suit 
Records. I also run a tape label called Five Ten 
Tapes which focuses mostly on East Bay bands, 
and I also book a lot of shows around here. 
Will B:And me and Max started a label I guess 

a year and a half ago? 

Max: We did the first release two summers 

Will B: It's called Gay Scientist Recordings and 
we put out a couple tapes, we're about to do 
another tape for Bruxers, a live tape of them 
playing on KFJC.And we're about to put out 
our first vinyl which is the Negative Standards 
tape redone on vinyl with a couple other la- 

MRR: You have a lot planned for the 
next few months, what's in the near 
future for the band? 

Al: There is so much awesome shit happen- 
ing. A repress of our first cassette is coming 
out on vinyl and then we're also putting out a 
full-length on Vendetta from Germany, which 
is really cool. 

Will R:Then we're going on a month-long tour 
out to the East Coast and then back through 
the Southwest for most of May and the begin- 
ning of June. Our first tour was on the East 
Coast and we flew out and did two weeks do- 
ing the Northwest loop doing shows half the 
time with a drummer and half with a drum 
machine. This time it's the all-human version 
of the band for the entire tour. We're doing 
the coast and Great Lakes again and then all 
through the South, where I haven't been on 
tour in a long time and I'm excited to go back. 
I'm excited about bands it looks like we're go- 
ing to be playing with, it looks like there's going 
to be a lot of really fun shows and I'JI get to 
see old friends and play a lot. 

MRR: You're taking the TVs with 

Will R: Fuck yeah. 


Al: Definitely. 

Will B: I think it was the first show we played 

with them and we were like "we're never not 

playing with these again." People will ask "oh 
this is a tiny space, you're going to leave the 
TVs at home right?" And no, if we didn't think 
we could fit theTVs then we just wouldn't play. 
And actually it works out, we don't take up 
that much more of a footprint We've been able 
to squeeze them into some pretty ludicrously 
tight spaces like the Hive here in Oakland. 

MRR: People seem to like it at your 
live shows. 

Will B: I had some concern when we first 
started doing it that people would think it was 
excessive or indulgent or something like that 
but it's cool to be doing something that pot a 
lot of bands are doing it. There are definitely 
bands I can think of I've heard of doing it in 
the past, like Crass being a really big example 
for me, that's a different reference point for 
doing more than just playing songs but having 
an active visual component in your live show. 
It's something that you don't see that often 
and it's cool to think of different ways of pre- 
senting that. We found out very quickly while 
designing that stuff that we're not a band that 
plays big clubs where we get a two and a half 
hour soundcheck to set up our 50 foot pro- 
jection screen and that kind of stuff because 
we're a touring punk band and that's just not 
going to happen. It was cool to have to kinda 
around that limitation and still come up with 
something that wouldn't break. 
Will R:And having theTVs as a visual element 
I really like because it sparks a lot of conversa- 
tions with people. I've definitely had that "oh, 
you're in that TV band right?" which I just think 
is funny to boil it down to that. But whatever, 
that person remembered our set and instead 
of it being four dudes who looked pissed and 
were loud, I'd rather do something a little bit 
different than other people are doing. 
Al: Ever since I saw Murder Takes a Holiday 
play Gilman and set up a bunch of televisions 

on stage with just white static I've always 
thought that adding that kind of visual element 
to a show is something that can really make 
it memorable and hold it in your mind. So I'm 
very glad it's something that we're doing. 
Max: I think it's in common too with how we 
try to make everything a unified experience 
in the sense like what Will said, we're not just 
some dudes being loud where you see a band 
and it's just about what you hear. Instead we're 
trying to use the music to create a certain 
mood or a certain effect on people, then we 
can use the TVs to do that as well, and we can 
use the lighting to do that as well, and we can 
use the album art that goes with the record- 
ings. I think it's all of a piece in that sense. 

MRR: What is your songwriting pro- 
cess like? 

Will R: People come up with individual riffs 
and we jam on them a lot. Then I show up to 
practice and ask them not to play doom parts 
for so long because it's boring. 
Max:That's totally true, we write riffs and then 
we're like "oh man, Will is gonna hate this." 
Will R: Then I slowly pressure them into 
shortening the doom parts and playing more 
fast and punk parts. 

MRR: How do the lyrics fit in? 

Will R: The lyrics of our band are something 
that I think are really important. It's not just 
"hey check out this thing I'm pissed off about" 
for a 90-second hardcore song. Each release 
has an overarching concept looking at differ- 
ent ideas in different ways. The first one is 
about both of my younger brothers deciding 
to join the military and my own dealings with 
how to process that as a punk and my obvious 
not-support of that. Ugh, that was the worst 

Will B: No that was actually pretty good, I'm 
glad you didn't use like, a broader metaphor. 
Will R: And the LP we just recorded was 
about dealing with the thoughts of... well 
a good friend of mine was killed by a drunk 
driver very suddenly and it was the first time 

that someone that close to me had died, that 
I knew that well. And dealing with that forced 
me to examine a lot of things about myself. 
Like I had certain knee-jerk reactions, where 
you think "oh, I'm going to feel this way be- 
cause of whatever," but until you put yourself 
in that situation you don't know, and then you 
have that experience, to see how you really 
feel when the gun's against your head. I really 
hope that people take the time to read the 
lyrics and have a conversation about it because 
it's not just "drink, fight, fuck." There's a lot 
more put into it. 

MRR: There are more heavy, dark, 
and genre-mixing bands current- 
ly popping up, almost a wave. Are 
there many other bands you've run. 
into doing something similar to the 
Negative Standards experience? 
Will B: It has been cool over the past couple 
years to realize that there's, well I wouldn't say 
there's a new hot trend going on right now, but 
there definitely are a lot of bands that are kind 
of doing similar things to what we are doing 
but it's cool to see that even if there are ten 
or fifteen bands that we've come across that 
are on the same wavelength they are all totally 
taking their own personal spin on it. I can't 
think of any two of them that are exactly like 
each other. So it's cool to realize that there is 
maybe some sort of collective subconscious 
that is spurting out this new hybridized music. 
But it's not like anyone has a conspiracy to let's 
all, whatever. 

Will R: Let's all get weird. ' 
Max: But that does happen a bunch I think. . . 
Will B: Sound like Bolt Thrower on acid? 
Max: Ha. Yeah, but there should be. I feel like 
it happens a lot where I'm at a show with a 
bunch of heavy bands playing brutal crust or 
whatever and I'll end up in a conversation with 
somebody about power electronic or dark 
ambient music or something. There's all these 
things that people go home and listen to after 
the show. 
Will B:And they're not going to put that patch 

on their crust vest. Most punks don't go home 
and listen to the same 47 hardcore bands and 
then never listen to other kinds of music. 

MRR: So people are starting to get 
Negative Standards? The unifying 
theme of most of the tour stories I've 
heard is audience confusion. It must 
be a relief to come back to a place 
and people have seen you before and 
get where you're coming from. 
Will B: That's something that's nice about be- 
ing in a touring band for some time. For some 
reason when we first went on tour there 
was this rumor that kind of dogged us from 
town to town that we were a straight edge 
band. Possibly owing to Will, who is not even 
straight edge just to clarify. So we had a plan 
for a. while that we were just going to pretend 
to be a straight edge band and then break edge 
every night of tour so everybody would be ex- 
cited and want to give us drugs and alcohol. 
But some things happened on tour and some 
people found out that those X's are drawn on 
in pencil, (turns to other Will) And you have an 
eraser. . .a mind eraser. 
Max: Ohhhh, that just happened. 

MRR: So you're officially not a 
straight edge band? 

Will B: I'm guessing if you just see us live you 
will probably take a wild gander that we are 
not a straight edge band. 
Al: Unless you just listen to those two parts 
of that song. . . 

Max: Well that's the funniest thing. Once peo- 
ple stopped thinking we were a straight edge 
band we started writing breakdowns every 
Al: Murder breakdowns. 



Interview conducted via 
e-mail by toddrighteous. 
Photos by Donofthedead 
and Sarah. 

MRR: Let's start with the formali- 
ties: who is in the band and what do 
you play? 

Chris, guitar and vocals; Sarah, vocals; Matt, low 
end; Kris, drums. 

MRR: How did the band get started, 
and what is the meaning and origin 
of the name? 

Matt: Friends, hanging out is how I feel we 
started. The name, I think, came from goofing 
around with words, and those three came up 
and they were just too good. 
Chris: I could not stand that name for the lon- 
gest time! Eventually though, it grew on me. 
Bush was in office when Iraq war was in full 
swing the word "terror" really frightened a lot 
of stupid people that we enjoyed pissing off, so 
the name stuck. We formed on a drunken July 
4th in 2004. We had a long night of drinking 
and talking about our local scene, which was 
in a state of turmoil at the time: punk bands 
complaining about who "deserved" to play 
what shows or who was "more punk." Lots 
of ridiculous bullshit and fighting that doesn't 
belong in the punk scene. We decided that we 
wanted no part of it and to start a new band' 
that would separate itself from the local "scen- 
ester" bullshit. We never expected to make it 
past two shows, much less accomplish what 
we have so far. Fucking crazy! 

MRR: You're from a part of the coun- 
try that is not exactly known for a 
high output of hardcore punk. What 
kind of unique perspective does that 
give you toward the scene? 
Kris: Appreciation. 

Matt: There have always been punk bands in 
West Virginia, and to be honest, some are real- 
ly great. But many do one tour and get burned 
out and jaded or never tour at all. Or never 
record. So there is a lost history of bands that 
never tried. 

It is all I have ever wanted to since I was a teenager: play punk 

and annoy republicans ! 

Sarah: We aren't known for hardcore punk. 
However, we are known for record numbers 
of cases of autism, obesity, cancer and poverty. 
We are known for providing energy to the 
country at the expense of our health and our 
land. It gives us the perspective of feeling like 
the rest of the country's toxic waste dump. Ex- 
pendable. Controllable.Totally exploited while 
remaining the punch line of some stereotypi- 
cal joke. It's fucking West Virginia. 
Chris: I feel like we had to work harder then 
most bands at first because of the fact we 
didn't live in a big city or know any "heavy hit- 
ters" in the punk community.Also.the negative 
stereotypes that seem to go along with Appa- 
lachia didn't help. 

MRR: Do you get sick of punks not 
only being unaware that West Vir- 
ginia is a state, but thinking that you 
are from the western part of Virgin- 
ia? How often do you hear that? 
Matt: I hear it a lot and it really depends on 
how many beers I drink if I get annoyed or 

Chris: It doesn't bother me in the slightest. I 
probably have complained about it once or 
twice in the past. In all reality, though, I care 
more about meeting good-natured fun people. 
Who gives a fuck what one's knowledge of ge- 
ography is. Besides, fuck borders! 
Sarah: I personally don't get offended, just frus- 
trated. Maybe a little confused. 

MRR: West Virginia is in the heart of 
coal country, so you are much more 
exposed to the negative aspects 
of the mining industry. Fill us in on 
some of the things that those of us 
who aren't from that region prob- 
ably aren't so familiar with — and I'm 
talking about the supply end, not the 
actual environmental repercussions 
of burning it. 

Sarah: The local impact of mountaintop re- 
moval (MTR) reaches multiple aspects of life 
in Appalachia. For one, you have the cultural 
aspect. You have people and communities di- 
vided over saving our unique ecosystems or 
preserving temporary jobs for the very few 
people in the immediate community they 
benefit. When you speak out about MTR the 
rebuttal is always pertaining to the need for 
employment. The reality is that the compa- 
nies that dominate the mining industry here 
have successfully dismantled union coal jobs, 
slashing pay and benefits. The actual practice 
of MTR employs very few people compared to 
that, say, a windmill operation in the very same 

location would employ. 

The toxic runoff and byproducts 
of the mining practice predominant in Appa- 
lachia are directly linked to really fucked up 
and alarmingly high cancer rates within these 
small coal communities. The thousands upon 
thousands of buried or contaminated stream- 
beds that run through Appalachia are at the 
headwaters of the majority of the east coast 
drinking water supply. This is some serious 
shit we are talking about here. Some serious 
deadly shit. And it's all made possible because 
the politicians of this state (and others) belong 
in the pocketbook of the coal/energy indus- 
tries. It dominates our entire identity as Appa- 
lachians — an identity of exploitation.Then [we 
are] expected to thank them (the coal barons) 
for their "investment" in the community. We 
are bombarded with pro-coal propaganda. Es- 
pecially when it's election season. 
Matt: The coalfields are littered with drug 
abuse and low education; young people are ec- 
onomically encouraged to drop out and work 
the mines. Children who live near filling sta- 
tions or holding silos develop -emphysema and 
other respiratory diseases. People who have 
worked their whole lives in the mine have to 
eat multiple pills a day just to keep the cancer 
that is killing them at bay and then get to enjoy 
the debt from the doctor bills. 
Kris: Whole mountains are reduced to el- 
evated flatlands — spilling toxins into all local 
water and air supplies and blasting boulders 
from the sites onto family homesteads. And 
almost everyone in these areas is working for 
the industry. If you're living in these areas and 
are against Big Coal, you're treated like a leper. 
Ruthless mineral rights ownership disputes 
with land owners are endless."Coal keeps the 
lights on" or "I love coal" stickers on thou- 
sands of vehicles — who else in the country is 
seeing that? When these sites go up, they take 
miles and miles of mountain ridges, lit up like 
a football field, and begin bulldozing and drill- 
ing. The coal trucks, often trying to gain better 
trip times and load weights, are responsible 
for hundreds of collisions a year on roads> 
To the coal mining industry it is cheaper to 
pay the fines to operate at deadly costs than 
to provide adequate safety. These mountains 
are thousands of years old with unique eco- 
systems and abundant wildlife literally turned 
into toxic wastelands that will, eventually, be 
prisons, consolidated schools, or Wal-Mart- 
esque strip malls. 

Chris: For a small sense of perspective — 
they detonate 2500 tons of explosive daily in 
mining Appalachia. That equals the explosive 
power equivalent to one Hiroshima bomb per 

week. Often pictures just show changes to the 
topography, and the impacts on the environ- 
ment as a whole are obviously much greater. 
The next big fight will be hydraulic fracking. 
They are currently trying to sneak that one in 
on us as a safer alternative to MTR while MTR 
gets bad reviews in the press.These topics re- 
ally do affect us all. As long we allow ourselves 
as a nation — as a world — to be complacent 
with big energy, this will continue. It's the same 
with big oil.We have the technology for a safer 
world and a sustainable future. It's up to us 
to use it. We can't expect CEOs of Exxon to 
want "gas-less" vehicles on the market, and we 
can't expect a giant coal corporation to sup- 
port clean energy from windmills. So it's up to 
us to take the technology and the power into 
our own hands and make these changes possi- 
ble. But it will never happen while the majority 
of us are complacent. So unfortunately it will 
probably become much, much worse before it 
gets any better. 

Appalachian Terror Unit recom- 
mends the following documentaries: The Last 
Mountain, Black Diamonds, Sludge, Burning the 
Future and Toxic West Virginia. They also recom- 
mend http:llsubmedia.tvl for the very best in 
anarchist/anti-capitalist news. 

MRR: Appalachian Terror Unit is 
a fiercely political and outspoken 
band. I'm sure you've noticed that 
the majority of punk today seems to 
be lacking the radical and anarchist 
politics that used to be ubiquitous 
in the scene, or at the very least it's 
much more assuaged and watered 
down. Why do you think it's so im- 
portant to keep the politics in punk? 
Chris: Short answer is saying fuck you to state 
power and causing a disturbance is a lot of fun. 
Or if punk was never political it would not be 
as volatile and dangerous, therefore, not as 
exciting! Longer answer is we need to learn 
from and to educate each other. We need to 
take control and responsibility for lives. Punk- 
is a great tool for that. Political punk changed 
my life for the better. Bands like Conflict in- 
spired me to stop eating meat, Aus Rotten 
was the first band that I heard speak about 
Mumia, and The System Works for Them got me 
thinking about what I consume. To consider 
what impact the products I use have on other 
human beings as well as the environment, Oi 
Polloi turned me onto a whole slew on eco- 
defense issues and tactics. Brother Inferior 
gave me goosebumps when I first heard One 
for the Resistance. The list could go on and on, 
but I will just get to the point and say that I 

The thousands upon thousands of buried or 
contaminated streambeds that run through 
Appalachia are at the headwaters of the ma- 
jority of the east coast drinking water supply. 

and many of my friends/comrades became or 
have become more active and politically aware 
because of anarcho and crust punk so hey... 
it's working! I feel like it's important to point 
out how the artwork in punk has changed 
through the years, as well. When did a glossy 
gatefold cover become cooler than a twenty- 
or-so page black-and-white booklet on recy- 
cled paper explaining your songs and having 
links to various organizations? There is such a 
vast difference in the presentation of the old 
anarcho-punk records and the D-beat worship 
bands of today. Not that I don't love and own 
my share of D-beat records. 
Sarah: Because the politics is what's supposed 
to separate us from them. 
Matt: I thought punk and politics were one and 
the same. 

MRR: Do you feel like most of the 
people who are fans of the band 
share and passionately support your 
political stance? Or do you think 
most people are just into the music 
and the social aspect of the scene? 
Chris: I think all of us possess both charac- 
ters. Some days I feel like the last thing I want 
to do stand in the hot sun at a rally shouting 
the same old slogans; some days there's no- 
where else I would rather be. I also think a 
vast majority of the people that are involved in 
the punk scene but not active politically were 
once political but became burnt on politics 
for one reason or another. Of course you will 
always have people that just are at the show 
for the whole "sex, drugs & rock'n'roll" aspect. 
However, I think one would be surprised at 
how fast the most jaded punk will spring into 
action with the right motivation. For instance, 
it's hard to resist the urge to take a stand and 
cause a ruckus when fascist bastards like the 
Phelps family come to town or when a squat is 
threatened with eviction or when police bru- 
talize a friend or comrade. 

MRR: Do you ever feel like you are 
preaching to the choir? 

Chris: No. Not really. I feel like the majority of 
us at the anarcho-punk shows are political or 
a least somewhat political and appreciate the 
message. I have always enjoyed bands that have 
the ability to talk to the crowd and discuss 
songs and topics during their set. I live for the 
old two-minute rant between songs and mul- 
tiple political banners across the stage. It's so 
much more personal then just blazing through 
each song. 

Sarah: Not every kid at the show is down for 
the cause. It's always worth it. There is always 

something we can learn from each other; oth- 
erwise, what the fuck are we doing? 

MRR: As parents (Chris & Sarah), 
how has your life of involvement in 
the radical and DIY punk communi- 
ties shaped your views on childrear- 
ing? There is a lot of anti-breeding 
sentiment in those communities; do 
you ever have to deal with any of 

Chris: Well, for starters, our kid is better 
dressed than most! When Wolf was three 
months old, we played with Riistetyt in Cin- 
cinnati, so we took him with us to meet our 
friends. Two weeks later, we took him to ABC 
. No Rio. He was far to young to watch a band 
play at either place because of decibel levels, 
but just to be in that environment at such an 
early age is fucking rad. So I guess he does 
have a different upbringing then most kids do, 
and that is a direct result of Sarah and I be- 
ing involved in a punk activist community. We 
are still able to tour as parents; it just takes a 
bit longer to prepare, and we can only reajly 
do a longer tour during summer months. We 
can't just pick up and play every show like we 
used to, either. It's just a part of being parents. 
I have not received any anti-breeding senti- 
ments from other punks. If anything, everyone 
seems to adore Wolf and jump at the chance 
to see him. Unless we need a fucking babysit- 
ter, that is! I'm not for or against having kids. 
Pro-choice as fuck! I do, however, think that 
having a shitload of kids is irresponsible and 
that society as a whole needs better education 
on overpopulation and reproduction. 
Matt: I am just against dumb people breeding. 
Sarah: I was raised in what would be consid- 
ered a fairly radical home and feel the DIY 
ethic of the punk community coincides pretty 
well with some of the fundamentals of my 
upbringing, so I suppose it all just feels totally 
natural. The relationship between my son and 
I is something I feel requires no justification to 
those with the anti-breeder sentiment. If you 
don't like kids then don't fucking have one! I 
personally find motherhood to be the absolute 
most radical experience I could have. It was a 
challenge I felt up to, and when I got pregnant, 
we followed our gut and rolled with it. I am 
1 00% supportive of reproductive freedom, and 
that includes having a child if one chooses to 
do so. I have never been happier since he was 
born, and I have never been more dedicated to 
anyone or anything. 

MRR: It seems like being politically 
aware basically means focusing on a 

We can't expect CEOs of Exxon to want "gas-less" vehicles on 
the market, and we can't expect a giant coal corporation to sup- 
port clean energy from windmills. So it's up to us to take the 
technology and the power into our own hands and make these 

changes possible. 

lot of negative aspects of the world. 
How does that affect your over- 
all outlook on things? Do you lean 
more towards the pessimistic, jad- 
ed, hopeless and depressing view of 
the future, or do you cling to a more 
positive and hopeful outlook? Are we 
fucked, or is there any hope for a de- 
cent future? 

Chris: Life would be no fun without at least 
a little hope. Do I think we will ever see a 
worldwide anarchist Utopia? No. Nor do I see 
punk being the main driving force of resistance 
against the state. However, we can build our 
own autonomous communities. Punks are 
doing so right now and have been for a long 
time. Being self-sustained, or at least semi-self- 
sustained, is possible when we work together. 
Look at the squats throughout Europe that 
survived for years run by punks for punks. 
Look at Ungdomshusetand you see how much 
is possible. They fought tooth and nail against 
the state. They lost one building but didn't give 
and rose from the ashes with a new place. Did 
they topple the Danish government? No, but 
they are still up and running. I know that many 
of them are still deeply hurt by the loss of 
what they originally had, but what they are do- 
ing is so amazing and so far beyond anything I 
have ever seen in the States. We could do that 
here, but only if we are willing. 
Sarah: I battle the inner negativity on a daily 
basis. Actually becoming a mom has given me 
the motivation and the tools I needed to sub- 
due my negative tendencies a shit-ton. Being 
a positive example for my son has given me a 
refreshed optimism that I am hoping is some- 
thing I can sustain. People get paralyzed by the 
waves of hopelessness that touch all of us in 
our seemingly mundane worker/consumer 
lives; I am personally just making a conscious 
decision to not let that happen. If it does, they 
win. I don't see the point in complaining about 
something unless you have attempted to do 
something about it. Otherwise, you're just wal- 
lowing in your own shit waiting for death. 

MRR: I remember when I got into 
punk, it seemed like having strong 
animal rights sentiments, along with 
adopting a vegetarian or vegan life- 
style, was almost a prerequisite for 
involvement. Over the years those 
aspects seem to have largely fallen 
to the wayside. In the song "Meat 
Punks" you speak about this. Why 
do you think this is still an important 
Chris: Of course it's an important issue. Not 

just for the animals' sake, but for our own 
mental and physical health, as well. Millions are 
slaughtered each year to be consumed with- 
out thought. It seems in America the average 
person lives off of fast food and considers a 
home-cooked meal a can of beefaroni and 
some pizza bites. So with such little thought 
about what shitty foods they ingest and how 
it affects personal health, how can one expect 
the masses to consider the life of the animal 
that died for their food. We are so desensitized 
to animal rights from a very young age. I never 
remember as a child, not one single time, feel- 
ing regret for an animal that died for my food, 
and why would I? I was never taught that logic. 
Not by parents and certainly not at school. It 
wasn't until I became involved in anarcho-punk 
that I ever questioned any of this. So, yeah, I 
think it's important to sing about it I wrote 
the lyrics for "Meat Punks." They are heavily in- 
spired by the Extreme Noise Terror song "Just 
Think About It," and the state's school lunch 
program not having suitable vegetarian op- 
tions. The song does have some preachy lines 
in it, but, let's be honest, is it really "preachy" 
to say that it is selfish to eat meat? Most meat 
eaters will tell you that they eat meat because 
they like it arid are too selfish to give it up.That 
being said I'm the only vegan in my family and 
certainly would never go around telling meat 
eaters to fuck off or criticize them. Going veg 
or eating meat is up to them. We do sing about 
it to influence people, yes — but if you don't 
like the message, you can turn it off. I would 
never sit at the table and ram it down your 

Sarah: It's an important issue for the simple 
fucking fact that it's an important issue. It's like 
trying to explain why torture is wrong, or why 
exploitation is bad. It feels incredibly obvious 
to me that consuming meat in our society is 
fucked. I think that making excuses and thus the 
conscious decision to consume this death is 
fucking pathetic and deserves attention. If you 
don't like it or the song offends, then too fuck- 
ing bad; maybe there is a reason.That song that 
follows "Meat Punks," "Shocked, Shackled, and 
Hanged" was written remembering the cattle 
trucks that would barrel past the farmhouse 
I grew up in northeastern Pennsylvania — with 
steamy pink and brown cow noses pressed up 
against steel oval slats of the semi trucks. You 
could hear them cry sometimes. The smell of 
fear and shit and death — it was fucking hor- 
rific. Every day [there would be] a constant 
pace of them, delivering animals for slaughter 
right past me while I would be waiting for the 
school bus or riding my bike. I was practically 
raised vegetarian. I recall giving the drivers the 

middle finger with my mom often when they 
drove by. GO VEGAN! 

MRR: Is it just me, or does it seem 
like the extreme right and the Chris- 
tian fundamentalists have become 
much more prevalent and vocal in 
the U.S. in the last four years? Is the 
country going to follow these people 
backwards into the stone ages? 
Matt: NO! Their ideals are archaic and back- 
wards. Like a person gasping violently for their 
last breath, these old institutions of power are 
trying to inject fear into a larger secular so- 

Sarah: The first thing that comes to mind is 
this incredibly blatant war on women and their 
ability to control their own bodies and, there- 
fore, their entire lives. The panel discussion in 
congress made entirely of men deciding if we, 
as women, deserve the basic right to control 
our own health? It's total insanity. 
Chris: People will always be scared of what 
they don't understand. No one truly under- 
stands death. That phobia is a powerful tool 
that religions have always and will always ex- 
ploit to push their agendas. Fundamentalists 
have the same stranglehold on the world they 
always have. It's not just the United States but 
worldwide. Look at the "Arab Spring." Many 
dictators are hunted down — which is fucking 
great and all, don't get me wrong — but how 
many crude religious fucks gained power, and 
not just the power that gets someone more 
money or influence, but the power to have 
women raped or homosexuals murdered with 
little or no repercussions. 

MRR: A lot of bands and punks in 
general talk about how Nazis suck. 
You come from a town, and a state, 
which has a lot of Nazi skinheads, 
and you've always been very outspo- 
ken about combating fascism. Tell us 
a little about taking it beyond words 
and slogans and actually confront- 
ing and combating fascism in the real 

Sarah: I can't share much more than personal 
experience. When I moved here I was a lone 
woman in a scene entirely made up of white 
men and the inherent privilege that lends — the 
vast majority of which could not understand 
why I was so vocally and physically opposed 
to apathy in the face of Nazi skinhead bullshit. 
I was seen as a shit starter, a drama queen, 
just "PMSing" — all of those titles and things 
thrown at women who try to make change. 
It didn't take long before threats of property 


damage and physical violence were constantly 
being thrown my way from boneheads.Then 
came threats of sexual violence. I was threat- 
ened with rape. I believe the exact words used 
were, "Bitch I'm gonna put my white dick in 
your Jew mouth," because I believe in equality, 
and because my family is Jewish, and because 
I refuse to back down or succumb to apathy. 
I have to be constantly ready to defend my- 
self, but it's worth it.Things have changed a lot 
in Huntington since I first moved here. I can 
say that within the last two years or so, the 
tide is shifting and there has been an influx of 
very active, bright and badass people willing to 
step it up and directly confront these fuckers. 
I have much more optimism on this subject 
than in the past; however, we still have a fight 
ahead of us. ' 

MattAlways be vocal, no matter what.Always 
let your voice be known. When faced with 
someone making racist statements, tell them 
to go fuck off, and if that pisses them off, be 
prepared to defend yourself. At times it may 
seem hard, but just stay true and learn to de- 
fend yourself. These bastards are cowards and 
will jump you, and the pigs are on their side — 
at least in this town they are. So you may land 
in jail, but in the end, what's worse: the pos- 
sibility of arrest, or Nazis in your town? 
Chris: We live in a small city that has actu- 
ally developed significantly in the last twenty 
years and grown in diversity. That being said, 
there are some pretty backwoods places fif- 
teen minutes down the highway. Nazis are 
only prevalent in our town because they were 
somewhat accepted for close to fifteen years. 

They take advantage of young kids and get 
them to fight their battles for them. When I 
was sixteen I even hung out with a few and 
wore a swastika armband to school once after 
watching Exploited on UK/OK. Stupid kid shit 
trying to be offensive. I then pulled my head 
out my ass with the help of some friends and 
some good records. I was so fucking pissed at 
myself for being such a dumbass kid! 

I started learning about anti-fascism 
and how fascists take root by targeting the an- 
gry youth that feel like they have no future. 
Their goal is to turn kids into lifelong fascists. 
It felt to me like Nazis mainly target punks, 
both for recruiting and violence. Almost like 
they are saying "Hey let's get these angry 
young kids to join up and if they don't we will 
stomp em good." So I started writing antifas- 
cist lyrics, talking to people about Nazis and 
making antifascist flyers. Doing what I could to 
fight back. Playing all ages shows and speaking 
to kids about anti-fascism. Through the years 
I have made some great antifascist comrades, 
and I can't speak directly about what we do, 
but I can say we have won every battle so far, 
and we plan to keep winning! It does get fuck- 
ing scary when you sign up to fight fascists 
directly. You put yourself out as a target. Es- 
pecially when you have a powerful voice like 
Appalachian Terror Unit to get your point 
across. I have received death threats for many 
years. A comrade and best friend of mine at 
the time had his door kicked in, and he was 
beaten by Nazis with a hammer. He was hit 
four times.Twice in the head before his room- 
mates charged in with bats chasing the Nazis 

$ ^m *^4vJP Imp 
"11^\f%, ilk 

off. I have no doubts in my mind they would 
have killed him if it was not for his roommates. 
I have had friends held at knife-point by Nazis 
demanding my address. Scary fucking shit! Es- 
pecially now that I am a father. I knew what I 
was getting into when I decided to fight Nazis 
and willingly took the risk. He did not. So the 
thought of a car rolling four deep with bone- 
heads is a scary thing to me. Anyone that says 
Nazis are not a threat in the United States is 
fucking crazy. Like I said, though, we are win- 
ning! I also want to thank everyone in the punk 
scene that fought the Nazis in the '90s before 
my time as a traveling punkThe sacrifices you 
made and the battles you fought helped make 
punk safer for my generation. With your ex- 
ample and our own hard work, I hope we can 
make punk safer from the fascist threat for the 
next generation of punks. 

MRR: Politics aside, isn't it pretty 
much a dream come true getting 
to play music you love and travel- 
ing around, not just the country, but 
the world, meeting and hanging out 
with awesome, like-minded people? 
What are your favorite and least fa- 
vorite parts about your involvement 
in the DIY punk community? 
Matt: It is a dream come true. It is all I have 
ever wanted to since I was a teenager: play 
punk and annoy republicans! My favorite thing 
about the community is how large it honestly 
is. I mean we go from coast to coast by just 
the good nature of friends. End the night with 
little food and a bed on the floor. For fucking 

It feels incredibly obvious to me that consuming meat in our so- 
ciety is fucked. I think that making excuses and thus the con- 
scious decision to consume this death is fucking pathetic and 

deserves attention. 

six years! This is not only endearing but also 
heartwarming. Fucking beats those days at 
work when you're about to punch your boss 
and burn your work to the ground. 
Chris: I can only try to express how fucking 
stoked I am to be in Appalachian Terror Unit. 
Playing with great bands is awesome and all. 
To travel and meet punks all across the world, 
however, is the most enriching experience I 
have ever been a part of. To see the squats of 
Europe, to eat breakfast on a roof in Mexico 
with punks and their grandmother, to have 
drunk Unibroues in Montreal and homebrews 
with Tragedy in Portland.These are all things I 
have always wanted to do but never saw my- 
self being able to. Punk has sent me to sixteen 
fucking countries! We set out in Appalachian 
Terror Unit just to have fun and be ourselves. 
We never expected to get our shit together 
well enough to do a 7-inch, much less get on 
Profane Existence. We never expected to play 
out of town past Cincinnati and have some- 
how ended up touring the whole country on 
more then one occasion, as well as touring in 
Mexico, Canada and Europe. We worked our 
asses off, yes, but everything also seemed to 
just fall into place for us. I don't think it's the 
music that has allowed us do so well. None of 
us are even very good musicians! I think it's 
a combination of the politics, the lyrics, the 
artwork, and the music but mainly the cama- 
raderie of the punk scene that has allowed us 
to do what we do for so long. 
Sarah: It's hard to be away from the kiddo. Real 
hard sometimes, despite the fact that when 
we are apart, he is being given the royal treat- 
ment by his grandparents. But this band is part 
of who I am, and I am sure he will understand 
and be supportive of what we do once he is 
old enough to fully vocalize it. Besides, when 
you're a kid, getting away from your parents is 
the coolest ever. 

MRR: Appalachian Terror Unit has 
a few records out now; which one is 
your favorite? 

Matt: The next one. 

Chris: I agree. I usually like whatever we cur- 
rently working on the best. Our sound tends 
to change a bit with each release depending 
on what we are currently listening to or in- 
spired by. One song might have an early Doom 
feel to it and another a late Nausea, but that's 
just the music. Lyrically, it will always be angry, 
political and punk. 

MRR: What are your future plans for 
the band? Anything in store to look 
forward to? 

Kris: More. 

Chris: We leave June 5th for a United States 
tour — a decently long tour covering a large 
part of the country. Looking forward to seeing 
many of you on the road! We have a few songs 
written at this point towards a new LP. Well, 
A new LP is the goal, at least, but you never 
know when a split or two may arise. 
Sarah: Making my brother Dan [cough, cough] 
the artist who did the cover of Black Sands 
[cough] create even more sweet art for us. 
Talented bastard. I'm winking, too. hnp.llomni- 

MRR: Final thoughts? 

Matt: Find a circle of friends, go underground 
and physically fight for this earth. Or get a job, 
get a van and play punk rock. 
Chris: Punk is a beautiful thing. I'm thirty-one 
years old and I have been hardcore into hard- 
core punk for over half my life and I love it. I 
don't know shit about the metal scene or the 
hipster scene, but I seriously doubt they know 
how to take care of each other the way we 
punks do! I want — no, I need — to stop and 
thank everyone that has supported us through 
the years and supported punk in general. It's 
a vast underground network and the actions 
we take affect it more then one might think. 
For instance, if you love punk but have never 
been in a band or set up a show — so fucking 
what! Don't feel left out. Just going to a show 
and paying the donation at the door keeps the 
scene going. Making a mix-tape for a friend is 
just as influential as releasing a record. We all 
matter! If you want to be in a band, start one. 
That's one of the great things about punk; you 
don't have to know how to play. Anyone can 
do it. I do think a few people deserve a special 
shout out: Dan Profane, Marald, Jeremy Clark, 
Dan Lerner, Steve VOW, Captain Toddles, Matt 
and Jim at Vex, Simon and the Scumfest crew, 
Oi Polloi.Wartorn, and Parasytic, and the very 
best tour driver of all time — the captain from 
Hamburg-Tomczech! We owe all of you a 
very great deal and will not forget the love 
you have shown us! 

To contact ATU write: nolordsnoleaders@ya- 

Appalachian Terror Unit 2012 "Offi- 
cers Down All Across America" Tour 
June 2012 

5 Pittsburgh PA 

6 Chicago IL 

7 Madison Wl 

8 Appleton Wl 

9 Minneapolis 

10 Lawrence KS 

1 1 Denver CO 

13 Bremerton WA 

14 Seattle WA 

15 Portland OR 

16 Portland OR 

1 7 Eugene 

18 Areata CA 

19 Reno NV 

20 Sacramento CA 

2 1 Santa Rosa CA 

22 San Francisco CA 

23 Los Angeles CA 

24 Riverside CA 

25 Las Vegas NV 

26 Albuquerque NM 

27 Austin TX 

28 New Orleans LA 

29 Gainesville FL 

Appalachian Terror Unit discography: 
Armageddon Won't Be Brought By 
Cods... But Men Who Think They Are 
EP, Profane Existence 2006 
Prey for Armageddon Split CD with 
Wartorn, Profane Existence 2007 
Creenwashing LP, Profane Existence/ 
Vex Records 2008 

It's Far From Fucking Over CD, Profane 
Existence 2010 

Split EP With OI POLLOI Profane Ex- 
istence 201 1, Euro version on Nikt Nic 
Nie Wie 

Black Sands EP Profane Existence 



R E C O R DSw!^ 


rgf-oos mcuKNiuLs/snEiioisEsnn r 



5" HWY SWITCHERS -iim mi a me 

5" DROPWCK MURPHYS - lire on 3 Ave 

5" WRETCHED MIES- m on a life 


7" LIMECELL - bloodthirsty 

7" THE CUFFS- cut llwat (clear wax) 

CD THE WRETCHED ONES -make It happen 


CD NIDUCK HENBANE- happy Itappvoi ol 

CD LIMECELL- destroy the underground 

CD LIMECELL -s/t debut album 

CD URBAN RIOT-puUlc enemies 

CD SOUIGGt- hate, destruction, and... 

CD LOUSY BREAK -dont wait for the next... 

CO WRETCHED ONES -we don't belong to... 

BRASS TACKS -the good IHe 

MENTAL DECAY - walking stick (grey wax) 

LOUSY BREAK -no reason- tplc 



7" HEIDNICK STEW -trials and tribulations 
7" NOTORIOUS GRUMBLE (orange wax) 
7" THE WRETCHED ONES -rut/lady boss 45 
CD STEEL TOE SOLUTION- eight year war 
CD/LP THE WRETCHED ONES -we don't.... 

visit us at... 

Retrospective from singer 

of The Nervebreakers and 

Loaf in' Hyenas. 

Puro Pedo Punk Rock de 
San Anto. 



New 7; from members of 

Poison 13, Crack Pipes~+ 

LeRoi Bros 


Off the wall debut from 

Mexican garageTduo 



__:New 7" by swampy, 
s.tompboxln* Central Texa^s 
power trio. 

Grungy mo to-punk from 

members ^of. Dicks, 

Tastyjir.exas trash! 

Twisted takes'on' Brit- rock 
classics. LP or CD: 




* f 


Galway, Ireland has a vibrant and close-knit punk/hardcore scene, and most 
locals credit that to the work of Daniel Corpse, Currently the guitarist for 
ONLY FUMES AND CORPSES, Daniel has been booking shows in Galway for 
over a decade and has played in some of the scene's more notable HC bands. 
ONLY FUMES AND CORPSES play a pummeling form of hardcore that evokes 
Comeback Kid, Tragedy, and From Ashes Rise, but is distinctively their own. 
In the last five years, ONLY FUMES AND CORPSES have released the EP "Read 
What's In Between" and their blistering full-length "Who Really Cares, 
What Really Lasts." Currently working on their next two EPs, Daniel sat 
down to talk about the band, the scene in Galway, and touring in Europe. 

interview by Kevin Dunn, photos by Barry Vhelan. 





MRR: Let's start off with the name of the hand, Only 
Fumes and Corpses. I don't know if Americans would get 
that, but it's a pun on a British television show? 

Daniel Corpse: A British sitcom, yeah, Only i'ools and Horses. 
The band had different names before this and some were more 
controversial than others. 1'irst we were called Council of 
1C, but there was another band called that, so we changed our 
name. We changed our name to Dein Kampf, which is obviously 
not going to go down well with everybody. Dein Kampf is 
basically the opposite of Kein Kampf, which is a book that 
Hitler wrote. We thought we were being smart and everyone 
would think, "Oh yes, this band is the exact opposite of Hitler 
and fascism and stuff like that." But some people were like, 
"Are these guys iiazis? What's the storyV" It was always a bit 
weird. If we were to play abroad, it would never work, especially 
in Germany or Poland etc. Obviously we're the furthest thing 
from fascists. But it was way too controversial I think so we 
decided to change it again. Then we had a couple of months of 
no name and this was just before we released our first demo. 
We had it recorded and we couldn't release until we decided a 
new name. We also had a tour coming up with this Polish band 
called Przeciw around Ireland and we needed a name. I work 
in a record shop and I just saw the cover of a DVD Only Fools 
and Horses and it just struck me: "Only 1'umes and Corpses." 
1'umes and corpses, you know all those crust bands with all 
those fumes and corpses and that kind of stuff. It's almost a 
little bit of pun on that as well. We don't take ourselves that 
seriously. We're not going to call ourselves The End of the 
World or anything like that. 

We're just a couple of guys having some fun. We 
do write serious lyrics, but we're not going to be 
all serious about everything. There's a little bit 
of a fun thing about the name as well and for some 
people that might not know the sitcom Only i'umes 
and Corpses does sound quite dark maybe. 

MRR: It is dark. You guys have a dark sound. 
You're one of the few bands that bridge the 
hardcore and metal sound in a way that 
works rather than sucks, if that makes sense. 

Daniel: I know what you mean (laughing). We're not 
a metalcore band or anything like that. I grew up 
on metal until I was sixteen and then I discovered 
punk and hardcore properly. Our singer's the same, 
he would have been into grunge and metal until he 
discovered hardcore and punk and stuff like that, 
which in Ireland you don't really discover until a 
bit later because it's not out there as much. When we 
were younger we were only exposed to mainstream 
stuff like your Pearl Jams and Ketallicas. That's 
the way it was when I was growing up in the west 

of Ireland anyways. There's definitely 
a big metal influence in the back of 
our minds anyway. We don't listen to 
that much metal anymore, but it's still 

Our new drummer Benny who is in the 
band for three years now was a proper 
metalhead, loves death metal, black 
metal, really heavy stuff. He doesn't 
actually have a doublekick, by the way. 
Some reviews have mentioned his double 
kick, but it isn't, it's all a single kick. 

We're metal heads as well as punk 
and hardcore heads. I don't really 
differentiate between them. 1'or me if 
it's underground DIY music I don't care 
if it's ska, punk pop, death metal. If it's 
performed by nice guys, nice people with 
, a good attitude, I don't care. The sound 
of the band itself, yeah we do like to 
keep it a little bit dark and melodic, 
but melodic in a dark way. Minor chords, 
that kind of stuff. Without being emo, I 
guess, (laughs) 

MRR: I'm not from Galway, but over 
the past few months I've noticed 
that there's a huge underground DIY 


But there 

aren't a lot of 

camps.- Everyone seems 

connected. Is that a fair view 

from outside? 

Daniel: Yeah, exactly. Lecause it's a small 

'^i town and there's only so many local bands that 

when we organize shows we tend to mix the bills as much as 

possible. If it's a hardcore band playing, I try not to stick 

just your local hardcore bands with them. I try to stick 

on metal bands as well and maybe a pop punk band if I can 

just to mix it up a bit. There's no real division between the 

different types of music, to be honest with you. 

MRR: Galway's not that big. Relative to its size, it's 
got a huge music scene going on. 

Daniel: Galway has always been an artistic town from a 
long time ago, before this kind of stuff started. It's 
a college town in the west of Ireland and has always 
attracted people from different parts of the world, from 
England, from Germany, from all over Europe. A lot of the 
hippie culture, alternative culture would have moved here 
during the '80s and '70s. Loads of people who are involved in 
the scene are actually not 
originally from Galway, so 
it attracts a lot of people 
from different cultures 
and people who move here 
tend to be from a slightly 
more artistic background. 

MRR: You book shows 
here as "Us vs. Them" as 
well, right? 

Daniel: Yeah. I've been 
booking shows here in 
Galway for ten years. It 
started off as the Hew 
Ifoise Kusic Collective in 
about 1999. 

MRR: Vhy'd you start 
doing that? 

Daniel: There wasn't really any gigs happening in Galway 
at the time. We were in a band i'uktifino (Pronounced 
"i'ucked if I know") and 'we wanted to play a show, so we 
organized our own show. Then we realized that if we wanted 
to play a show in a different town, we had to organize a 
show for a band from that town so we could swap over. The 
first concert we organized for was for a DIY band from 
Dublin called Estel. I think the second gig was for a band 
from Belfast called The Dangerfields and we did a lot of 
gig swapping with those bands. That's how we started. One 
of the first gigs I played outside of Galway was in Lelfast, 
believe it or not, just because we made a contact with a 
band from there. 

MRR: There is a vibrant scene here, but there's not a 
lot of places to play. It seems most of the shows are 
in pubs. 

Daniel: There's a few spots. To be honest, we can organize 
a show every night of the week if we need to. Different 
venues are available different nights. We're not going to 

get some of the big venues on a 1'riday or Saturday night. 
They keep them for their own stuff. But it's mainly pubs. 
It's a city with a lot of pubs. - v 

MRR: It's the same in Ireland generally. There's only a 
few cities on the island to play in and then you pretty 
much have to do an international tour. 

Daniel: You have to. That's why we got on tour as early as 
we could, to be honest with you. You can only play Galway 
once every two to three months. You could play more often 
I guess when you are starting off, but after that you don't 
want to overkill. Dublin will have you maybe once every 
three months, same as everywhere else. Then we just have 
to look further afield, which is hard for an Irish band 
because it's expensive to get off the island with your 
equipment and your van. If you were based in Germany 
you could easily do a weekend tour of 1'rance or Poland or 
anywhere with a quick trip in the car with a tank of diesel. 
i'or us it's two days in the ferry and lots of money, so it 
takes a lot of planning. 

MRR: How many times have you left the island for 

Daniel: I don't even know. Six, eight, ten times. Went- to 
UK about three times separately, then Europe three times, 
then we did a couple of fly over shows and festivals in 
England, flew to Finland for a couple of shows for a big 
festival there and stuff like that. 

MRR: Vhat's the biggest 
challenge of being a band 
here in Galway? Is it that? 

Daniel: Yeah. It's getting off 
the island. To get your name out 
there you want to be touring a 
lot, ideally. It's not that you 
want to get big. It's just if you 
want to get out there and get 
your music heard, you want 
to be playing around Europe 
a couple times of year to be 
honest with you, which we can't 
do financially really. That's 
the main thing. Like I said, 
if we lived " in Europe in the 
mainland, every second weekend 
we could go for shows somewhere. 

That's pretty much the only thing that holds bands back 

here I think. , 

MRR: Everything so far has been self-released. Is 
that right? 

Daniel: Kb. Our first demo was self-released. Our EP Head 
What's In between was self-released and our album Who 
Really Cares, What Really Lasts was released on vinyl 
through Randal Records which is a Galway-based label, 
Headwrecker from London, and Underground Movement from 
Dublin. The CD was also released by Lockjaw Records in 
the UK. They're a big indie label in the UK. That's been it 
so far. We've also had a couple of tracks on compilations 
and that kind of stuff. Our new stuff we hope to release 
again on the same labels as well as some labels in North 
America hopefully. We're in the middle of trying to sort it 
out right now. 

MRR: So you've got new stuff coming out, but you just 
picked up Andrew recently, right? 

Daniel: Yeah, a couple of weeks ago. We had a good bit of 







new stuff written already, so he has learned all those and 
we just recorded twelve new songs. These are all really 
short and fast. It's a bit different from our other stuff. We 
hope to have these out in January as a download-only EP. 
Then we've got another song that's seventeen minutes long 
and we're going to record that in 1'ebruary and do the same 
thing with it, have it download only now. Then we're going 
to get some record labels involved and release it together 
in a 12-inch so it's two EPs together basically. 

MRR: You're talking about the new songs getting 
shorter and harder. Why did the band make those 

Daniel: It was a conscious decision. After the last album, 
we were like, "Let's get back to really short songs." Release 
these, and a couple of others, just as a gap between our 
next album. Just something different, not sure why we're 
doing it. Just to show something different. We've started 
writing our next album as well, believe it or not. Writing 
that now is really easy because we know we can write one- 
minute songs in an hour if we need to, so we're sure we can 
write a proper really good song in a couple of weeks. 

MRR: Not that those little one-minute songs aren't 
really good. 

Daniel: They are amazing (laughing). The rough mixes we 
have sound great already. They're actually really good 
songs. It's mostly a bit of a bridge between the next album, 
so we can try some different stuff on this without feeling 
like we're straying. It's still Only 1'umes and Corpses, 
but because it's something different, we can try some new 
stuff, I guess. 

MRR: Have you guys been playing this stuff out yet? 

Daniel: We did two or three songs already, but if you blink, 
they're over. The long song that we've done is going to be 
something different, trying to play that live, remembering 
all the bits and make sure we don't pass out before the 
song's over. It's 17 minutes long. 

MRR: Holy shit. 

Daniel: Yeah, usually these seventeen minute songs have 
a five minute intro with feedback and delay pedals. Kone 
of that, it's just pretty much straight into it and fast. A 
couple of registers, stuff like that, but it just keeps going 
and going and going. 

MRR: 1 was going to ask about vinyl and downloads 
because I've got your stuff oh CD, and CDs... 

Daniel: Are dead. 

MRR: Are dead, exactly. 

Daniel: It's really hard for us to... Duplicating vinyl is 
quite expensive over here, I think it's cheaper to do it over 
in Ivorth America, as far as I know. I think the pressing 
plants are only in mainland Europe. I think you usually 
go through brokers in England, that's the way it usually 
works. You can see on the boxes, the sticker "Imported 
from Czech Republic." You're like, "Hold on a minute, I 
ordered this from England." (laughs) Yeah, CDs are dead. 
That's what our next release is going to be, probably just 
download and vinyl. 

MRR: Let me ask you, because your 33rd birthday was 
two weeks ago. How's that? Become an aging punk? 

Daniel: I don't, think about that at all, it doesn't really 
bother me, not a bit. 

MRR: Do you have a family? 

Daniel: Yeah, I've got a kid, I've got a one-and-a-half- 
year-old, little boy called Luca. I'm actually building a 
recording studio at home at the moment and a rehearsal 
space. One of the reasons I'm doing that is so I can do more 
of that kind of stuff from home, I can just pop out to the 
back and do band practice, and then go back in and take 
care of my kid for a while. It's not going to change' things 
that much, I hope. It's a good thing in a way, it keeps me 
more focused on other things. It stops me from just doing 
reckless things, I guess. I can't just blow all my cash on 
some limited edition seven-inch that I want to release 
next week (laughs). 

MRR: I'm at my standard question: are there crazy 
events from shows or tours that you remember that are 
worth mentioning or sharing? 

Daniel: So many (laughing)... it's all the usual stuff. 
Europe's great when you go on tour there, and everything's 
so much more liberal, there's no big deal about anything. 
It's more open. Drink is cheaper, people don't get as drunk 
as much because they don't need to, for some reason or 
other. Crazy stories? Actually there are funny things 
about every day on tour. Some of the people you meet are 
amazing and some of the squats are crazy. We tend to get 
stopped at border controls (the ports especially) and we 
always try to have some fun with the officials there. They 
are always so sure we are gonna have a shit load of drugs 
on us or something, (laughing) 

MRR: When you tour Europe, how long are you usually 
gone for? 

Daniel: Two weeks minimum. Like I said, the fare is quite 
expensive, and it takes about two days to get over. You lose 
a couple of days either side, so you want to go for at least 
ten days to make it worthwhile. The last one, we did ten 
shows. We'll probably maybe go to England next time again, 
a couple of shows in England, Belgium, Holland, Germany, 
Luxembourg, something like that. The two big tours we did, 
we went all the way to East Poland, Czech Republic, stuff 
like that. But for that, you want to do at least three weeks, or 
else it's driving a crazy amount every day. When I say crazy 
amount, you might drive six hours a day, which I think in 
the States is not such a big deal. Every time somebody says 
to me, "Kan, how long we got to drive today?" I'm just like, 
"Kan, you're lucky we don't live in the States." It's not that 
bad, and the roads are pretty good usually around Europe, 
unless you head out to Poland where the roads are bad and 
"people are insane drivers. Driving there is insane. You 
almost start praying, even if you don't believe. The good 
thing about touring those places is you get to see some 
really, really crazy stuff, stuff you don't see around the 
rest of Western Europe. You take a wrong turn in some of 
these places, you end up in your small little villages that 
seem to be from Communist Europe. Some areas are really 
quite poor as well, some of the places we went to. When 
you're in Germany,- and you drive a couple of hours further 
east, it's a big difference. Even though it's supposed to be 
one big Europe, there's still a lot of big differences. 

It's a good way to see things when you're on tour, because 
you're not going to the usual tourist spots and stuff like 
that. You get to see how people live, and not just the nice 
things. That's been one of the highlights of touring, as 
opposed to all the crazy stories. We do have enough crazy 
stuff over here. BflK A jfcfejF 





HENRY FIATS OPEN SORE Patmos Or Bust 7" £2.95 

JOHNNY THROTTLE Lost Sputnik 7" • £3.50 
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LIL BUNNIES Bunnie Hole 7" £2.95 


PARKINSONS Up For Sale 7" £2.40 

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RANCID HELL SPAWN Gastro Boy 7" (last few) £2.95 

RANCID HELL SPAWN Teenage Lard 7" £2.00 

RANCID HELL SPAWN Scalpel Party CD £6.95 

REAL LOSERS Time To Lose CD £6.95 

SEXUAL ABOMINATIONS R'n'r Meat Hook 7" £2.00 

SUPERHELICOPTER LTD. Indicted 7" £2.25 

TRONICS What's The Hubub Bub CD £6.95' 



ABORTED Mushroom Sunset 7" £3.75 

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RAMMA LAMMA Gimme Gimme 7" £3.95 

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POSTAGE RATES FOR 7" EPs: UK: First copy £1.50, 
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No Way Back 



Second Coming / CBGB'S 1984 



Nothing Will Stand In Our Way 



Record Collectors Are Pretentious Assholes 



Kings Of Punk 



I Believe 


JERRY'S KIDS Is This My World 


NEGATIVE APPROACH Nothing Will Stand In Our Wa 


SLAPSHOT Fire Skull 


SLAPSHOT Original Hockey Mas 



3830 5th Ave San Diego CA 92103 



■ - CO - LABIil./»f87lK> - 

SP-017: Uncurbed / 
Warvictims split LP: 

FINALLY, the Uncurbed / 
Warvictims split is available 
in the US. 

2 sides of early BO's style HC 
w/ epic Swedish execution. 
Limited to 100 clear blue 
splatter vinyl, and 400 black. 


SP-016: Krang 

1 SP-015: Black Hole 
of Calcutta "srt" LP 

SP-012: Jesus or 

■The Veil is Lifting' 7" 

; SP-011: Sunshine SS 

'Teen Choices' 7" 














THE FIGGS live at the hurricane lp 



CHRON TURBINE skull necklace for you lp 






LIEUTENANT* S/T LP less than 25 copies leftm 




fuck society volume 1 

western problems 




#»#**»! ^olfWflflu, 

Acephalix is a brutal, crust-influ- 
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is a full-fledged, disgustingly 
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Southern Lord is proud to unleash 
the second album from Seattle's 
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Breath! Sentenced to Life is the 
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band's raging 2010 debut album, 
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this is the band's most thunderous 
recording to date, sentencing every 
listener to a life of headbanging 
after spinning this motherfucker! 

Wolfbrigade have been storm- 
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In a scene overabundant with clones 
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OUT IN MAY 2012 

www. southernlord. com 

PO Box 291967 LA, CA 90029 

IFE *0 

12" %^ 








Legends of South African Punk 

MRR: When did you become 
interested in punk rock for the 
very first time? What was your 
first experience? 

First got interested when I read 
an article in NME about the Sex 
Pistols in 1976. First experience: 
Brett and I were in a club in Durban 
in December 1977 and the DJ 
announced that two punk rockers 
from England were going to show 
the club the pogo. The DJ played 
"Pure Mania" by the Vibrators and 
Brett and I were hooked forever. 
It was from there we started to 
investigate if others in South Africa 
felt the same passion for punk rock. 
I also saw this as maybe a means 
to express my political ideals in 
the form of music. We could not 
legally express our ideals verbally 
in South Africa in those days, but 
punk would give us the "artistic" 

edge to express ourselves without 
the danger of being arrested. 

MRR: Back then did you see 
many people around you 
interested in new kinds of music 
or ideas? 

Not really. Shortly after that I 
had to go to do National Service 
(conscription) for two years in 
1978-1980. Brett saw quite a bit, 
but it was difficult to catch the early 
shows due to lack of advertising. 
Most people around at that time 
were only interested in the idiotic 
disco thing which thankfully has 
never appealed to me. We made 
contact with the organizers of the 
shows and got to meet a number of 
the players in 1 980, namely Rotors 
(surf punk band), Wild Youth, 
and Dead Babies to name a few. 
The early gigs were fantastic and 

had massive support. Brett and I 
became quite keen to start our own 
band 'and with the demise of Dead 
Babies Dave the bassist joined us, 
and Slaves of Janet called it a day 
so drummer Pills joined us. Rotors 
bassist, Pat's younger brother 
Brian, joined us on rhythm guitar. 
We were complete with Brett on 
lead and me on vocals. We shared 
a practice room with Gay Marines 
and things began to rock. 


MRR: Do you remember 
first gig you played? 

Yeah I do. Our first gig was on the 
3 rd of October, 1981, and believe 
me the South African Police (pigs) 
were at their most oppressive. 
We had only been together a 
couple of months and we were 
really bad. Johnny Teen, formally 
of Wild Youth and now fronting 

Gay Marines, wanted us to jam on 
stage just before them. It was a big 
gig. We knew we were bad so we 
decided to go for shock tactics. I 
cut myself a mohawk and dyed it 
pink, Brett had a union jack painted 
on his chest, Brian went for green 
hair, etc. It was all a bit of fun to 
take people away from our music. 
Anyway I was arrested on the way 
to the show by the pigs because I 
had a pink mohawk. The one pig 
says to me at the station, "How can 
you expect a black man to respect 
you as his white boss?" Can you 
believe this? And to make matters 
worse this pig was only a constable 
and standing next to me was a 
black sergeant and he doesn't 
say a word. So basically the black 
man's rank was only for show. They 
eventually released me and we did 
the show and everyone had a blast. 

A gig I could never forget. 

MRR: Do you remember first 
punk gig that you saw? What 
was it? 

The memory is a bit hazy, but 
I remember there were loads 
of gigs. The first gig I saw had 
Rotors, Wild Youth, Dead Babies 
with others in the lineup. At that 
time there was a club with bands 
playing every weekend. Sadly that 
was not to last long. 

MRR: Where did you get the 
name of the band from? Is it 
something important for you? 

We took the name from the AC/DC 
album Powerage. The name was 
very significant to us at the time 

with us all co-existing in a world 
mad for power. So we adopted it 
as the age of power — Power Age. 

MRR: In June '82 you arranged 
the Polish benefit show. I heard 
that you raised some money. I 
saw a poster from this gig with 
the logo Solidarnosc. Talk about 

I felt really inspired by Lech 
Walesa. Here was a man standing 
against Soviet oppression. It 
was awesome. I had this idea to 
do a mini punk festival in aid of 
Solidarnosc. I made contact with 
the Polish relief fund in Durban, 
mainly their chief Kazakh Woolf. 
He was such a cool dude, an 
Auschwitz survivor, and showed 

me his Auschwitz tattoo. Amazing 
stuff. Anyway he was very 
interested and gave us permission 
to do the gig in their name. The 
acoustics were not that great, 
but after costs of advertising and 
sound engineers we raised just 
over R1 000.00 (back then it was 
valued at £500.00). It was very 
cool. The lineup was Manipulators, 
Warspike, Resistance, Power Age, 
Rotors and headliner act Gay 
Marines. All bands gave their time 
and effort for free, which one could 
always expect from punk bands. 
Also remember we only charged 
R2.00 per person so the gig was 
very well supported. I guess a lot 
of people felt as inspired as we did 
to show their support for Poland in 

its time of need. 

MRR: Uncanny stories! Do you hear 
anything about people from Poland 
at your gigs, not only this benefit? 
Some punks with Polish roots? 

No I never heard anything. 

MRR: Tell me about Power Age Voice, 
your own fanzine. What was it? How 
many issues did you do? How many 

I only made one issue. I wanted to get 
a cross section of ideas and arguments, 
but sadly none of us had the time to deal 
with a zine. I replaced the idea years 
later with an underground mailing list, 
whereby punks were given heads up 
on upcoming gigs and ideas that were 
floating around at the time. This worked 
really well. I made 100 copies of Power 
Age Voice, and on the mailing list we 
had up to 250 people which was very 
cool for gigs badly advertised. The 
numbers seem low, but a good gig in 
those days drew in 250 people. A mini 
fest with more than four bands would 
draw in up to 400 people, but then you 
had to include a metal band or two to 
get the numbers. We had quite a special 
scene, punks, metal heads, rockers all 
together... very rare, very cool. I believe 
it is still something like that in Durban. 
It was good. 

MRR: IV Reich was the first punk 
band in South Africa? I think that 
Wild Youth was one of the first. Did IV 
Reich have some records? 

IV Reich was the first punk band in 
Africa. I never saw them perform 
because in those days advertising gigs 
was very difficult. Word of mouth was 
the main advertiser, so if you were in 
the know then you got to the gig. As far 
as I am aware they never recorded any 
songs, but you might want to check that 
with Mike Fleck, their guitarist. 

MRR: Leopard was an all girl band, 
yes? What kind of music did they 
play? Did the punk movement in 
South Africa have a venue for girls? 
How many less/more? 
Once again, I never saw them perform. 
I heard they were alright. They did a 
recording on the album Six of the Best. 
Once again, if you get hold of Mike Fleck 
he might be able to get the music copied 
for you. They played very first wave punk 
style, good tunes. There has never been 
a punk girl venue in South Africa. We all 
shared the stage. There was an all girl 
band that came on the scene the same 
time as Power Age called The Nubiles. 
They were a new wave act, but the 
chicks in the band were hot! 

MRR: You had a trillion records. How 
did it happen that you got to record 
your first record, the World War 3 7"? 
What label was it on? 

wrote "World War 3" at a time when 
we were all paranoid that Russia 
was the bad guy. Little did we know 
that the USA is really the bad guy. All 
things at the time seemed to point to 
a nuclear war. It seems all that is past 
now because I believe the US will be 
solely responsible for any world war 
of the future. The label was our own. 
We pressed the single through a 
company that let people press singles 
in batches as little as 100 copies We 
pressed 100 and then went for 150, 
so we pressed 250 in total. We could 
not afford any more, and believe me 
it took us years to get rid of those 250 

MRR: The next record was a 7" 
by NegativeFX Records, Protest 
to Survive. How did it happen, a 
band from South Africa and a label 
from France? Did you approach 
them or did they approach you? 
You had strong connections 
around the world and were always 
on compilations like Beating the 
Meat, Grievous Musical Harm, 

All those record deals were thanks 
to Rubin "Wildman's" perseverance. 
Rubin would write to contacts every 
night arid would send out sample 
tapes and records. I think it was 
Gerard Miltzine who got us the 
pressing on Protest to Survive. Brett 
got on the act as well and used to 
write every day to contacts overseas. 
Power Age being known around the 
world is all thanks to the contact work 
by both Brett and Rubin. We got great 
responses because of us being an 
anti-apartheid white band from South 
Africa. I guess people just could not 
get their heads around our stance on 

respected our stance and would 
have supported us in extreme 

MRR: Were there any black 
punx at concerts, in the streets? 
Were there any bands with the 
indigenous people? National 

There was one kid, Lauren. I don't 
know what became of him. He was 
a brave kid. You see, in South Africa 
back in the early '80s being a black 
punk was almost a suicide mission. 
Black folk would scorn them and 
the pigs absolutely hated them. So 
when little Lauren disappeared we 
all feared the worst and have never 
heard from him since. As the years 

went on a few more black kids 
came into the movement, but the 
numbers were very low. National 
Wake were more like a reggae 
act. I don't remember them being 
punk. Maybe I was at the wrong 
gigs. Even today the black punk 
movement in South Africa is small 
in comparison to what it should be. 

MRR: Where have you played 
concerts? Did you operate in any 
places where you felt the host, 
not only like the guest? Some 
youth centers or clubs? Were 
there any squats? 
We played mainly in Durban, 
and also did a few gigs in 
Johannesburg. We hosted a pub/ 

club for a while, the Smugglers Inn. 
It was great punk every weekend for 
a few months anyway. We played 
once at a w-edding but the family 
misunderstood our lyrics and we had 
to do a runner to avoid being stabbed 
by an angry mob!! We never played 
at any squats, but we did a lot of 
benefit gigs! It seemed every charity 
had our phone number, ha! They 
were cool gigs, very memorable. 
The only squats in those days were 
squatter settlements on the fringe 
of Durban. Very different areas 
peopled by people who did not care 
much for punk rock. 

MRR: In the '80s you did you have 
any visitors from abroad? Punk 

MRR: Exactly. Apartheid. What is 
your position on this issue? Did 
other groups think like you? Was 
this issue approached in general 
in the punk rock scene in South 
Africa? What did your family 
think? Did it cause any conflict 
with your loved ones? 
In the band we all felt the same 
against apartheid. There were no 
other bands that wanted to voice 
their opinions against apartheid like 
we did. This was very annoying, but 
then again this was our passion. We 
wanted to make a solid stand against 
the government and it was great to 
get the very negative reaction from 
white people. At one disco where we 
played we had bottles and glasses 
hurled at us... thinking back it was 
great because we touched a nerve. 
People were hearing what we were 
saying and hating us for it. Excellent 
stuff. My parents were old school and 
did not agree with my lyrics, but they 




■ 1 


or metal bands? Were there 
punk bands in other African 

I don't remember any punk bands 
visiting in the '80s, especially from 
the rest of Africa. The only punk 
that I can recall from Africa came 
from South Africa. I remember 
Napalm Death doing a tour and 
a we had to deal with the issues 
they brought, like their extreme 
fascist ideals. There were a few 
wanker punks from Johannesburg 
that were never made welcome 
in Durban, also because of their 
fascist ideals. Generally it was a 
good vibe between all. 

MRR: Another problem in Poland 
for the punx was alcohol, some 
chemicals, or drugs, which were 
a frequent substitute for glue 
sniffing. Was this also true in 
South Africa? Was most of the 
audience drunk? 
Yeah we had a lot of drinking and a 
bit of drugs. Nothing really serious 
because punks were picked on by 
the pigs, so it was never wise to 
carry anything illegal on yourself. 

People generally had a lot of fun at 
the punk gigs and everyone knew 
each other because the scene was 
very small. The only problems we 
had were when we went to discos 
to play and the straights there were 
always drunk and abusive. Always 
throwing bottles and trying to pick 
fights. They always felt threatened 
by us. 

MRR: What was the reason the 
band broke up? What do the 
members of the band do today? 
Why did you decide to have a 
one-off reunion? 
We broke up because we felt it 
was the right time, but I think we 
should have continued a bit longer. 
Powerage is Brett on guitar, Paddy 
on bass, and myself on vocals. Our 
drummers can be anyone because 
we are the core loyal side of the 
band who stick together whatever 
the opposition. Paddy lives in 
London like myself, and Brett 
lives in Australia. The reason for 
the reunion is that we felt a lot is 
going on in the world today that we 
totally disagree with and we need 

to say something about it. We will 
either get a session drummer or a 
mate to do the sticks. I guess the 
real reason Powerage split up was 
that Wildman got scared about the 
direction we were going, that is, 
more confrontational vocals against 
the apartheid system, so we tried 
a few more drummers and even 
recorded with them, but it never 
felt the same. Also at the time it 
was very frustrating doing gigs, and 
people being so apathetic about 
the real problems in South Africa. 
I mean, that apartheid system was 
so radically evil one cannot even 
comprehend it today. 

We only have copies of 
the live album left. We are going to 
the studio to record four new tracks 
and re-master the originals onto 
one limited edition CD as a farewell 
to coincide with 25 years since our 
final gig, which was recorded on the 
live album. 

MRR: What do you think about 
the current political situation 
in South Africa? How have 
you accepted the collapse of 

apartheid? Is it what you thought 
would happen at the time of 

The current position in South 
Africa is interesting. It was great to 
witness the demise of apartheid. 
The people in South Africa have a 
lot of work ahead of them to create 
a democratic country. Progress 
would naturally be slow because 
the old order still pulls a lot of 
strings, but the important thing is 
that children in school will grow 
up not ever understanding the 
cruelty of apartheid. Hopefully their 
history lessons will always remind 
them what an injustice that system 
was, and never to repeat it again. 
I always suspected that the African 
National Congress would become 
the dominant party and when you 
think of the sacrifices their leaders 
had to endure they fully deserve the 
leadership they now enjoy. There 
are a lot of fears of future leaders 
being wayward, but I think the 
South African people are not stupid, 
and the leaders they elect will truly 
support the mood of the nation. 

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MRR: To start at the beginning, An- 
tisect formed in Daventry and was 
rather separate from much of the 
contemporary punk scene. Their 
sound, even from early demo tapes, 
was pretty different to anything else 
around at the time. What sorta mu- 
sic was influencing you at that point? 
Pete: I don't know, really... it was mainly punk. 
We were a punkish sorta band, but there was 
also bits of heavy rock and metal. At the time 
when I got into music, the thing that kicked 
it all off for me was seeing bands like The 
Damned and The Ruts. But then I'd hear peo- 
ples' dads playing other stuff that got me into 
different types of music. Someone played me 
Black Sabbath's Master of Reality, and I remem- 
ber thinking, "Hang on! I quite like that!" So 
it was all a bit of a mish-mash, really. I mean, 
at the time, listening to stuff like that you'd 
be thinking it's really far-removed, because it 
was kinda "proper music," "proper musicians" 
on big stages, but Sabbath in particular, I just 
liked their sound.And then there was stuff like 
Motorhead, definitely. I mean, they were a bit 
rougher than stuff like Sabbath, but the speed 
of it and the energy of it was definitely an in- 

MRR: Well, Motorhead came up 
alongside many of the early punk 
bands, anyway. 

Laurence: Yeah, I mean, I remember buying 
Ace of Spades and Decontrol on the same day. 

That was fucking great! 
MRR: Were you ever into any of the 
early industrial / noise bands at all? 
Pete: I wasn't, really, although I think other 
members of the band probably dabbled in it. I 
did like bits of things like Test Department and 
SPK, stuff like that, but I don't think that ever 
really showed in the band, although maybe it 
did. I don't think we were really thinking along 
the same sorta lines. 1 think it was more, "Let's 
just make a fucking noise and see how we can 
join it all up!" 

MRR: As the band began to build a 
reputation for itself, you were most 
often aligned with the anarcho-punk 
scene of the early Eighties, although 
in several interviews you did state 
that you felt separate to all of that. 
Is that the way that you still view 
what you did and are what you are 
now doing? 

Pete: As much as I'm influenced by anar- 
chist politics, in general I think that because 
we weren't originally from London, we didn't 
mix with the people who seemed to be at the 
forefront of that kinda thing. So we did feel a 
little bit separate from it, and it was only later 
on when we moved to London that we started 
to meet people who were involved. But I don't 
think I've ever felt comfortable with calling 
myself one thing or the other "punk" or "an- 
archist" or whatever. Obviously, you take bits 
from all kinds of things and that's what makes 

you an individual. So I never really felt all that 
comfortable with it. 

MRR: It's one of the things you see 
when you look back on the so-called 
anarcho scene — there were a lot of 
different people and bands involved, 
often with similar ideas or aims, but 
just as often they'd be doing com- 
pletely different things. 
Pete: Yeah, I think there was definitely a gen- 
eral attitude of, let's try and do this ourselves, 
let's try and pull away from the mainstream, 
which was great, and I think we're still trying 
to do that now. But for me it was always just 
about doing what you do and seeing what hap- 
pens. People will always call you this or that or 
the other anyway. 

Laurence: It was just a big hotchpotch of dif- 
ferent people. That's the thing that was quite 
nice about it. I mean, I wasn't in the early lineup 
of Antisect, but I was in other bands, and ev- 
eryone seemed kinda related. For example, 
a band like the Lost Cherrees weren't really 
my kinda bag, but they were still squatting and 
they were still part of that lifestyle. There was 
that kinda difference right across the board, so 
everyone felt that we were all together. 
Pete: It was all really glued-together by the 

MRR: The first thing that really 
started to bring Antisect to a wider 
audience was when you toured with 

Pete: Yeah, I guess so.We only did about eight 
or nine gigs with them, if that, and we were 
still really young, still trying to figure it out. But 
one of the things that it did do, for me any- 
way, was make me think about the venues we 
were playing at with Discharge, which I hadn't 
really thought about up to then. They were 
more sorta "circuit" venues, I guess, so you'd 
get things like security and that. I'd never real- 
ized what that was like from the inside, and it 
made me feel a little uncomfortable. So I think 
that may have been a bit of a pointer to where 
we went after that. The gigs themselves were 
great, and we got along with Discharge fine 
and had a great time, but I think it was also 
a sorta defining thing that made some of us 
think, "We're not really sure about this." A bit 
later on, after we put the first album out, we 
had some communication with a largish agen- 
cy in the US at the time that used to book 
bands to play in America. We kinda umm-ed 
and ahh-ed about that... it was a mixture of 
us not being organized enough to actually go 
and do it at that time, and also just not feeling 
very sure about going and doing it like that. So 
it never materialized, which was probably for 
the good, really. We just never really felt all that 
comfortable with doing things that way. 

MRR: It's always a dilemma for bands 
when they get a chance to go and 
play abroad, but then have to rely on 
the integrity of people arranging the 
gigs for them. 

Pete: You can do it, but it is a lot of work, as 
we're finding out again now. Previously, most 

of the stuff we did was in the UK and, at that 
time, there was a much more coherent scene 
here, I suppose. This time around, we've had 
quite a lot of offers to go abroad as well as 
playing in the UK, and again we're not really 
wanting to go through the larger agencies. But 
by trying to avoid them, we're finding out just 
how much fucking organization and to-ing and 
fro-ing you have to do to make things happen. 
Laurence: The big problem is that you don't 
know what's going to be there when you get 
to some of these places. I mean, you generally 
talk to these people via email, but when you 
arrive at the place, it just isn't quite as sorted 
as you might have imagined it would be! That's 
just on a basic level. I'm not talking about any- 
thing exciting! 

Pete: It can be kinda funny, but it's also very 

MRR: When you recorded your first 
album, one of the things that really 
set it apart was the way that you 
created links and interludes between 
the songs. Was that something that 
you had intended to do, or something 
that just developed in the studio? 
Pete: I always quite liked the idea of joining 
things up and making it a wall of sound, if you 
like. We were all pretty naive back then in 
terms of production and how you go about 
stuff, but I was always quite interested in that 
side of things. I'd be the guy at the back, poking 
the engineer and asking, "What does this do? 
What does that do?" I just got quite into doing 
it like that. I think we all kinda felt that it some- 

how added to the intensity of how the album 
sounded. The idea of doing a song, building up 
the momentum, and then stopping, then doing 
another song, building up the momentum only 
to stop again, it just didn't appeal to us. 
Laurence: I think that's something we've al- 
ways tried to do live, as well. We'd try to do 
the set as quickly as possible, with the mini- 
mum of gaps you can possibly have, then peo- 
ple just can't think, and neither can you, half 
the time, haha! 

Pete: I think it creates more energy when 
you try to do it like that. We've introduced a 
part in the middle of our set now which is 
a pre-recorded section made up of sound- 
bites, a heartbeat thing going on, and various 
other bits and pieces. It's quite interesting to 
see what happens when that comes on. People 
start getting a bit fidgety, like they want to get 
back to the action, and it builds and builds until 
it gets there in the end. It's an interesting time 
to look out at the audience and see if they're 
getting it, you know? 

MRR: Surprisingly, in Ian Glaspers re- 
cent book The Day the Country Died, 
you said that you were actually a bit 
disappointed with how the album 
came out in the end. 
Pete: Personally, I thought it was too trebly 
sounding. Not just the mix, but the sounds that 
ended up on it. At the time, myself and Pete 
the drummer were into more heavy stuff, and 
I think there's one or two riffs on the album 
where you'd probably get that vibe anyway. We 
wanted it to be a chunky, heavy-sounding al- 

bum, but it was co-produced by Colin from 
Flux who had a completely opposite end of 
the spectrum view on it. He wanted it to be 
trebly and harsh, so there was a little bit of a 
battle. We wanted it to be a lot darker. In that 
respect, it probably didn't come out as heavy 
as we wanted. But for a bunch of people who 
(barring Wink, our bassist at the time) could 
barely play, we probably didn't do too bad a 
job of it in the end.Though a big thanks should 
go to engineer Barry Sage who did a superb 
job of translating what we wanted into actual 
sounds. Probably one of the situations that in- 
spired me to later get involved with engineer- 
ing and production. 

MRR: Have you ever thought about 
remastering or remixing the album 
to get it more like the way you want- 
ed it to sound? 

Pete: Not remixing it, really. I think you've 
just gotta say, "That was it," and let it go. But it 
has been re-mastered, and the plan is that it'll 
come out as a re-release later in the spring, 
through Southern. I think the original multi- 
track tapes are still knocking around, but back 
in the day, to get some of the effects that are 
on it, we literally had to set up two reel-to- 
reels at the end of the room and someone 
holding up the tapes with a pencil, loadsa shit 
like that, so there's no way we could re-create 
that now. It's of its time. 

MRR: Even from quite early on there 
were a lot of lineup changes, most 
notably the multiple vocalists. Do 
you think that, overall, that actually 
added to the creativity of the band? 
Pete: It just developed like that. We started in 
Daventry and we were basically the only kinda 
punky people in town that fancied making a 
noise. So that's how the original lineup came 
together, really.As time went on, people's per- 
spectives changed. Pete (Boyce) quit. Just told 
us he'd had enough when we went to pick 
him up on the morning of the first date of a 
UK tour. Bit of a stunner, but we had to move 
on and did the tour as a three piece. Others 
came and went along the way, so yes, it's been 
a pretty fluid thing. I'm kinda of the impres- 
sion that it might be too much to expect that 
if you have a certain relationship with some- 
one at say, the age of sixteen, you should ex- 
pect that relationship to maintain and stay the 
same all through various experiences. I think 
it's natural for people to go in separate ways. 
To try and force people to stay together just 
for the sake of a band is unrealistic. But in our 
case, the next person in the band has always 
been, kinda, one of the family at that time, if 
you like. I don't think we've ever taken any- 
body on board where the people in the band 
haven't thought it would be the natural thing 
to ask that person to be a part of it. Like, we 
moved from Daventry to Northampton, just 
after we'd written most of the material for the 
first album, and we got Rich and Caroline in- 

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volved because we already knew them from 
that scene.They seemed to have a fairly similar 
outlook at the time, so we thought, okay, let's 
try this and see how it works. And it seemed 
to work okay for a while, but, like I say, people 
change, circumstances change, and we ended 
up parting company after actually not that long 
really, but it worked while it was there and I 
think the same can be said of all the different 
variations of the band. 

In relation to how the lineup chang- 
es affected the creativity, it may have been in- 
fluenced in as much as the various members 
had their own take on the way they performed 
with the band, but the songwriting process it- 
self wasn't really affected as Pete Boyce and 
myself wrote the vast majority of the lyrics to 
In Darkness. After he quit, I ended up writing 
the lyrics myself and carried on writing the 
music, as I had been doing anyway, till the band 
split in 1 987. 

MRR: There was a surprisingly long 
gap, almost three years, between the 
first album and your next release, 
the Out From the Void single, and 
although it was reasonably success- 
ful, it did suffer from a pretty weak 
production. Were you happy when it 
came out? 

Pete: Nah.The whole circumstances around 
it were that we were part-squatting, part-living 
in short-term housing in East London, and it 
was just a really unstable situation. And I think 
it's fair to say that the people in the band at 
the time all kinda quite liked getting off of our 
heads! But when all three members of the 
band are like that, it's actually pretty difficult 
to get an anchor on it. We did the first record- 
ing for it and it was terrible, so we all thought, 
we've gotta do this again because that's just 
crap. So we did another recording, which is the 
one that got released, and it wasn't much bet- 
ter to be honest. But it was probably the best 
that we could do at the time because we sim- 
ply weren't capable of representing ourselves 
any better than that. 

The live stuff we were doing was a 
lot different, because you had the volume and 
the energy, but we weren't really experienced 
enough in the studio to understand how to 
get that energy and put it onto a recording. 
We were also working with an engineer at the 
time that really wasn't used to dealing with 
that kinda stuff. It was recorded in a sixteen 
track studio in Tottenham with an engineer 
who was used to recording soul or Motown, 
and then he suddenly had three crusty blokes 

stumbling into his studio telling him, "We 
wanna sound like this!" We couldn't actually 
articulate it, so it made life difficult for him as 
well. It's fair to say it didn't come out how we 
would've wanted it, but again, that's what we 
made. It still did pretty well in the indie charts 
and stuff, and we did have a little spat with the 
label about money, but I think in retrospect 
that was probably down to us, because we re- 
recorded it. Whilst we're not talking about big 
budgets here, when we fucked it up and had to 
redo it, it obviously pretty much doubled the 
costAnd we were too wrapped up in our own 
worlds at the time to be able to reason that, 
at the end of the day that had to come out of 
our money. So we had words at the time, but 
in hindsight, I kinda understand what went on 

MRR: The single was actually pretty 
divisive.. .as it was your first release 
since the album, a lot of people 
didn't like the fact that it sounded 
so different and that wasn't helped 
by the poor production. At the same 
time, though, a lot of other people 
embraced it because they were get- 
ting into the harder-edged metal 
bands of the time. 

Pete: Yeah, well, in the period in between, our 
sound had developed that way anyway, so if 
you had seen us live you'd have known what to 
expect. But some people only get to hear what 
you document or what you record, hence that 
reaction amongst some. But all of the stuff on 
that single we'd been playing live for at least a 
year before it came out so it didn't seem like 
much of a jump for us, although I can imagine 
how it might have been to somebody else. 

MRR: Following on from the single, 
you made efforts to try to record a 
second album Welcome to the New 
Dark Ages, but it was never complet- 
ed. What happened 1 
Pete: There were a few things on the table 
at the time. We were approached by Mortar- 
hate to do it, but I think, probably from the 
word-go, we didn't really feel comfortable in 
that environment. We were different types of 
people, if you like, but I think we took up the 
offer because it was on the table and we felt 
we needed to get something out there. We 
started recording it in the midst of our drugs 
frenzy, which made it really difficult to sort 
out, basically. There were some great ideas on 
it, but the actual recording sessions proved to 
be quite chaotic. The engineer was a bit of a 
drinker, as well, so none of us needed much of 

an excuse to slip-off to the pub! We'd come 
back semi-wasted and then try to do some- 
thing, which isn't really the way to work, is it? I 
also think that, during the course of it, it was a 
time when the whole scene was kinda chang- 
ing and evolving. We'd lived in London for 
maybe a year or two, with people who we'd 
thought we had things in common with, but by 
this time we'd started to realize that perhaps 
we didn't. It was a weird time, I think, and I'm 
not sure if anybody got it. We seemed to be off 
in our own little world. People would tell us it 
was too metal or whatever, but we just really 
liked it. We couldn't figure it out. Should we be 
doing this or what? But we realized, bollocks, 
it's all we can do, so we've just gotta do it. 

In the course of it all, in all that 
chaos, the recordings just fell to bits because 
people's lifestyles just didn't marry up, and to 
some extent there was also a little bit of be- 
ing disillusioned with the scene. It just became 
dissipated and fell apart. I think the culture had 
changed a bit.There had been a few years when 
people had been quite serious about the poli- 
tics side of it and actually wanted to get things 
done, but by then I think a lot of people had 
stuff beaten out of them. People changed and 
started to think, "You know what? I just want 
to get pissed and enjoy myself!" That changed 
the nature of things. I mean, when you're a 
band who has, for want of a better word, a 
sorta political message, but you play your gigs 
and look out at an audience where the major- 
ity of people just want to get shit-faced, it re- 
ally changes the dynamic of the whole thing. 
Laurence: We did one gig at the Blue House 
(a squat in Hackney) and it was just people 
getting so drunk and fighting... I mean, the 
music was full-on, but we were just looking 
out thinking, "We don't really like this very 

Pete: It came to a point where we just 
thought, this is a fucking losing battle. That was 
probably still a little bit later on because after 
the first attempt to record that album, we did 
actually discuss trying to record it again with 
Temple Records, but that proved to be a bit of 
a strange situation as well.We didn't quite fit in 
with that, either. And after that, there were an- 
other couple of lineup changes, people squat- 
ting in different places, other people going on 
the road. 

MRR: So, was that what led to the 
band splitting up, just people going 
off in different directions? 
Pete: Yeah, plus there was probably an ele- 
ment of being disillusioned and thinking that 
you had no control over our own intentions, 
almost. It was a funny old time. 

MRR: It's been some 25 years since 
Antisect originally split up and your 
recent reactivation. During that 
time, were you aware of the repu- 
tation and continued interest in the 

Pete: Err, more recently, probably. I've kinda 
stayed involved with music and worked with 

different bands the whole time, so I do cross 
paths with people and have become aware of 
some of it. But it's difficult to get a perspective 
on it if you were a part of it, and you never 
really know how to take it. 
Laurence: It is quite interesting when you 
see things like.. .there's footage on YouTube of 
a Norwich gig, and you see that there's been 
something like 30,000 hits on it! And it's not 
even very good! I mean, since we decided 
to do this again, we started to go back and 
have a look at what's been going on, and you 
come across things like that. I mean, I know 
that's been over a long time, but it's still pretty 

Pete: I think the type of music has spread all 
over the world, now. I think, back then, it was a 
kinda narrow band of people who were doing 
it, but over time, more people have got into 
that extreme end of it. But it still seems a bit 

MRR: The other interesting thing is 
the amount of bootlegs that have 
appeared over the intervening 
years. There's two ways of looking 
at them: First of all, there's the fact 
that someone is putting out mate- 
rial that you have no quality control 
over and obviously you get no return 
from it, but at the same time they 
can also help to maintain interest in 
the band. 

Pete: I think you've just got to accept that 
whatever you do is there to be documented, 
and if someone really wants to document it, 
you can't really stop them from doing that. 
Laurence: It's the quality control that's the 
real issue for me. 

MRR: I'm sure there must have been 
offers for you to reform the band be- 
fore now. Why has it taken so long to 

Pete: Well, speaking for myself, I've got quite 
a hectic life as it is. I've got lots of other stuff 
that I do, and in a sense, I couldn't imagine re- 
visiting the relationship that I had with some 
of the other ex-members. Too many things, 
perhaps, that I felt couldn't be resolved or 
whatever. I probably felt differently about Lau- 
rence and Tim because they'd been in the last 
incarnation of it and we'd all kept in touch in 
the meantime. But again, I think both Laurence 
and Tim had plenty of other stuff going on, so 
it just seemed like, logistically, it would be dif- 
ficult for us. 

Laurence: We had talked about it a lot over 
the years, and I'd always said, "No way," be- 
cause it just seemed ridiculous. I remember 
the way that the punk scene had gone, and the 
way the anarcho-scene had gone, and so much 
of it had just descended into rubbish. So the 
thought of going back again just seemed like 
sorta desperately clinging onto some kinda 
nonsense. But then in the last couple of years 
we talked about it a bit more, and we started 
to feel, well, the world actually isn't very differ- 
ent. I mean, I wasn't on the first album, but the 

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things that the album said, and the things we 
said after that still made good sense to me. So 
we thought, well, maybe, but the pre-requisite 
was that we would have to do it well. It could 
never be something that we'd do half-arsed. 

MRR: The interesting thing is hear- 
ing a full-range of material, from the 
first album through to the material 
that should've made up the second 

Pete: We certainly umm-ed and ahh-ed about 
what elements we'd include, and what would 
work with what, stuff like that. And I have to 
say, I'm probably enjoying playing the older 
stuff a lot more now than perhaps I did at the 
time. It feels a lot more solid. There's a gen- 
eral vibe about it that makes me feel that I like 
this, whereas, at the time, I think all of us were 
probably struggling with it a little bit. None of 
us were really musicians, per se, so we were 
always sorta playing at the limit of our ability. 
But now, I guess, we've just about passed that 
limit, hahaha! 

MRR: Was there anything in particu- 
lar that made you all decide that it 
was the right time to play again? 
Pete: There was a guy from Texas who 
tracked me down at the studio where I work 
and he bombarded me with emails about do- 
ing this festival in Austin. I kept telling him, "I 
really don't think so," but he kept saying, go 
on, go on, so I said, "Fucking, Hell, alright, I'll 
get in touch with a few of the others." So I 
got in touch with the people that I thought I 
still had an affinity with, hence the people that 
are in the band this time around, and we all 
met up in this hotel up in Northampton. We 
all booked a room in the hotel, met up, had 
a meal, got pissed and had a chat, just to see 
what the fuck went down. Just to see if we 
fancied it and if we still got on. And we did, 
you know. It was quite a nice night and we 
all chatted about stuff, so we thought, alright, 
let's set up a rehearsal. We went away, some of 
us brushed up on a few of our bits again, and 
then came back to do a rehearsal to see what 
that would sound like because it could've been 
fucking appalling. So we did that, and yeah, it 
was largely appalling, but there was some of it 
that was actually quite good and we got a good 
vibe about it. We were all a little bit surprised, 
really. We came away from it thinking, actually, 
that was alright! So we decided to rehearse 
for the festival in Texas, but we couldn't make 
it in the end. There just wasn't enough time. 
We all live all over the place so it was diffi- 
cult to get together. But we'd done a certain 
amount of rehearsing and we just came to the 
point where we realized, well, we're starting 

to become a band again. So then we had to 
decide what the fuck do we do now? 
Laurence: That's when we came to that 
dreaded word, "Gig!" 

Pete: So we decided to put a website up and 
announced that we'd reformed, but didn't re- 
ally have a clue what the fuck was going to 
happen. Then we got a few offers, and one of 
them was the Puntala-Rock festival in Finland. 
We just thought there was enough time to 
rehearse, to get it together to do it, and it 
seemed like a really good thing to do, so we 
decided to aim for it and see what happened. 
I think we all really enjoyed it, so we decided 
to see what happens now. Which is kinda what 
we're still doing. It's young, in a sense, but all 
the material we're doing, bar a few minutes of 
it, was written a long time ago. We've tampered 
with things and changed a few elements, but 
it's still mostly old stuff, and it's only recently 
that we've started to look towards what we 
are gonna do now. But that will come out. 

MRR: There's always been a prob- 
lem with punk bands reforming, with 
just as many fans saying that bands 
shouldn't do it as the ones that ac- 
tually want it to happen. That's par- 
ticularly true of bands with a more 
political edge, so I'm sure you must 
have come across those kinda atti- 

Pete: Oh yeah, of course. We've come across 
all sorts of stuff, you know. It's a sell-out, we're 
just doing it to make loads of cash, my retire- 
ment fund or whatever. The fact of the mat- 
ter is that there is no cash in it! We realized 
this very early on. I mean, I think there are 
probably a few potential motivations to re- 
form when you're talking about a much bigger 
band. There's money, for one, or they want to 
revisit some sorta semblance of their youth, 
you know, like a midlife crisis. But we've made 
a loss up to now, so, you know, there's the 
proof that cash is not really the reason for us! 
We have talked about all this stuff and I think, 
for us, it's really more the case that we really 
like the music, and we genuinely want to see 
what's out there.We want to find out what the 
situation is and see if we fit in to anything out 
there. We're just playing it by ear and it might 
all fall to bits in six months' time, if it's run 
its course. But right now, we're enjoying what 
we're doing. 

MRR: It does get a bit tiresome when 
you get these self-appointed author- 
ities who try to tell bands what they 
should and shouldn't do. If you wrote 
a song, why shouldn't you be allowed 
to sing it again? Obviously, if some- 

one doesn't like it, or doesn't like 
the way it's being presented, then 
they have the right not to go along 
to the gig. 

Pete: Well, people have a context in which 
they believe that other things should stay. I 
think that's what happened with Steve Igno- 
rant, recently. Obviously, he'd been the singer in 
Crass, a band with a pretty much ever present 
line up. So for him to revisit those songs with 
another bunch of personalities who had never 
been in Crass was difficult for some people 
to take. Plus, doing the kinda gigs that he did, 
it was almost 180 degrees from the kind of 
ethos that Crass had followed. I mean, even I 
had mixed feelings about that. There was actu- 
ally a chance that we could've played at the 
Shepherds Bush Empire thing, but we said no 
in the end, because that just wasn't right for 
us. There's a few different ways of looking at 
it, I guess. I mean, I suppose you've gotta think 
that a lot of the people who went to those 
gigs never got the chance to see Crass the first 
time around, so that's probably more of a posi- 
tive thing than a negative thing, really. I mean, 
people still went there by choice, no one was 
forcing them to do anything. 

MRR: The same thing can also be 
applied to the songs themselves. If 
something was written thirty years 

ago, it's not unreasonable for some- 
one's opinions or lifestyle to have 
changed in the intervening years. But 
that doesn't necessarily mean that 
the message or sentiments of the 
song should have any less validity. 
Pete: Yeah, we've actually had one or two 
online debates with people, particularly about 
the meat-eating side of things. I mean, at the 
time that the album came out, four-fifths of 
the band was vegetarian, and both myself and 
Pete Boyce were vegan. So our points of view 
were very much that way inclined. But this 
time around, when we revisited it, Pete had 
declared a few years ago that he was now a 
meat-eater and there were a fair few people 
who couldn't accept that, who couldn't make 
that adjustment, and had a real problem with it. 
It's like people put you in a little time-capsule. 
You must be like that, and if you're not like that 
anymore, then you're a hypocrite. But change 
is not the same as hypocrisy, it's a different 
thing. Regardless of whatever you believe, I 
mean, I don't believe that I could ever agree 
with eating meat, for example, but it's still up 
to whoever wants to do it. It's not up to me 
to decide for them what's right or wrong, and 
I think that should apply to everything, really. 
It's all a debate, no-one's right or wrong. It's 
all subjective and we all have opinions based 
on our experiences. It's about sharing that and 

passing things backwards and forwards. I think 
that's how you move on. You don't move on 
by saying, "This is right and you're all cunts!" 
I mean, one of the things that was leveled at 
Pete in particular, was that he was a hypocrite 
because he now eats meat, but I said to sev- 
eral people that I know damn well that when 
we wrote those songs, he meant every fucking 
word of it. It doesn't mean that he was lying 
to anyone at that time. He really meant it. Al- 
right, he's changed his mind now, but you can't 
then go back and say that something that was 
written back at that time is now invalid and 

MRR: What sort of reaction have you 
been getting at the recent gigs? The 
audience at The Garage in London 
was rather odd. Before you came on- 
stage, people actually seemed to be 
standing back, away from the stage, 
as if 
what to expect. 

Tim: I think you get a collection of people 
who go to these gigs who almost want it to 
be shit, just so they can then go home and say, 
"Yeah, I was right!" My wife noticed this thing 
at The Garage, like you say, when we started 
playing the people who were into it were right 
up at the front, then there was this thin line, 
and then behind that were the standers, and 

the comment-makers, and the disapprovers! 
But you're always gonna get that. You're always 
gonna have some people that are happy to see 
you and just as many who are just there to 
slate you as well. 

MRR: But then at your next London 
gig, at the Boston Arms, it seemed 
that everyone was really into it from 
the start. 

Pete: Yeah, I think that's been the reaction at 
most of the gigs we've done. The Garage was 
weird. We took a bit of flak from various peo- 
ple for doing The Garage in the first place. 
Laurence: Even though we did the char- 
ity bring-a-toy thing and the tickets were the 

cheapest price it's been there for about five 

Pete: We'd had a look at venues around Lon- 
don and we wanted to play somewhere where 
it sounded good. 

Laurence: It was a special occasion, know 
what 1 mean? It was a special occasion for us, 
playing in London for the first time after all 
that time.We had friends there who had never 
even seen us play, people that I know now who 
had never even realized that I'd been in a band, 
until we started doing this again. 

MRR: You've also played abroad sev- 
eral times since getting back together. 
Has the response been any different 

over there? 
Tim: Generally good. 

Pete: The audiences seem a bit less reserved 
as well. 

Laurence: I mean, we haven't had massive 
audiences, really, but I think the scene is per- 
haps smaller than it was. Obviously, when we 
get asked to go and play these things, you go, 
"Yeah, yeah, yeah, it's going to be brilliant," 
but then you turn up and there's maybe only 
150 people there. Then you go,"Hmm, alright, 
we've just travelled for 24 hours to get here 
and we'll have to get up first thing in the morn- 
ing to go all the way back, and there's only 1 50 
people." Obviously, that can be a bit frustrat- 
ing, but then everyone comes up afterwards 

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and tells us how much they loved it! So, you 
get a bit of each thing. We could've done with 
more people, but the people who were there 
were down the front going absolutely nuts. 
They absolutely loved it, so it's a bit of both, 

MRR: Your next step is going to be 
your American tour, which obviously 
has to be a full-on tour rather than 
just one-off dates. After that I sup- 
pose the next project for you to de- 
cide about will be the question of re- 
cording new material? 
Pete: I think we'll have to see if we're all to- 
gether after the tour! 

MRR: So there's no chance of any re- 
cording before you go on tour, just in 
Pete: Nah. 

Tim: Time wise it would just be too tight. 
Laurence: I think, because we'll be going 
away for several weeks people have to sort 
out certain other parts of their lives. 
Pete: We've got a few more bits and pieces 
coming up after the tour, a few festivals and 
stuff around Europe, but I think after that we'll 
probably call a halt to it for a little while, re- 
evaluate and see what we think.As we've been 
saying, we are kinda seeing what happens as it 
goes along. There isn't a template there any- 
more. We just see what happens. I mean, first 
time around it was sorta like that, but you also 
felt a bit more like part of a scene. This time 
around, for us. . .well, I'm an old fucker now, so 
being part of a young punk scene doesn't quite 
work in the same way.And I'm not so sure that 
it's the same kind of scene now as it was then. 
We've very much got to see how we fit in. 

MRR: The only new material that 
you have made available is the 10" 
single that you've been selling at gigs 
featuring new recordings of two old 
songs, "4 Minutes Past Midnight" and 
"Out From the Void (part two)." I'm 
assuming they were recorded pretty 

Pete: Yeah, late November and the beginning 
of December. 

Laurence: It was done just before we played 
at The Garage. We just thought it would be a 
nice vehicle to say.../n Darkness..., Out From 
theVoid. ..but this is what we sound like 
was kinda like that. And a way to bring some- 
thing a bit special to the gigs as well, brand new 
recordings after all those years. 

MRR: The problem being that un- 
scrupulous punters have been sell- 

ing copies for over-inflated prices on 
Ebay because fans don't realize that 
it's still going to be available for a 
regular price at your upcoming gigs. 

Pete: Yeah, well, even some of the stickers we 
gave away at the Boston Arms gig found their 
way onto Ebay. 

Tim: Yeah, that went up to a quid! 
MRR: There's still virtually all of the 
material from your second album 
that never ended up being properly 
released. Would you be interested 
in recording that now, to see if you 
could finally make that second album 

Pete: Well, we play a fair chunk of it live, al- 
though we have adapted it a little bit. We've re- 
tained the things that we like, so I think it's fair 
to say that if we do record something, some 
of that material is gonna end up on it. It prob- 
ably won't be just that stuff, but it will be that 
way inclined. Writing all new stuff after all this 
time is always gonna be a thorny subject. You 
just have to write the way that you're feeling 
now. That's the way it's always been. It's got to 
resonate for us. 

Laurence: We have been doing a few bits 
and pieces, just messing around, and I think it 
does kinda fit with the later Antisect stuff. So I 
don't think if we do something entirely new it 
will be a massive departure. 

MRR: Two of you (Pete and Laurence) 
were also together in the band Kul- 
turo after Antisect originally split up. 
In their case, there were no actual 
official releases by the band. Would 
there be any chance of any of that 
material seeing the light of day now, 
or even possibly being amalgamated 
in the new Antisect set? 
Pete: Sean Forbes has actually been hassling 
us about that. He's been on our case about it. 
Laurence: We've vaguely been thinking about 
doing something. He said, specifically! 
Pete: At the moment, there just aren't 
enough hours in the day to work it out. So I 
don't know. 

Laurence: Some of it was great, or at least, I 
thought it was great. We do have a recording 
of it that we made on a boat on the Thames. 
But it only ever got as far as a rough mix and 
we only ever made-up some tapes, simply be- 
cause we ran out of money and couldn't carry 
it on. So it's possible that something might sur- 
face... if anyone's interested. 

MRR: The thing is now, there's a lot 
more possibilities available to bands 
than you had first time around. 

Things like the internet and what- 
ever. Are you interested in making 
use of the different media that's now 

Laurence: Oh yeah, I think you've got to. If 
you don't keep up with things like that then 
you are just literally turning out the same old 
stuff. You've got to try to keep it fresh. 
Pete: At the moment, or at least up until now, 
it's taken us quite a large chunk of time just to 
get it all to this point. So I think it's a question 
of getting it to level out so we can see what we 
can do. I think we're all pretty much into the 
idea of it being more than just a four-guys-in-a- 
band sorta thing.There's gotta be something a 
bit more interesting and with a bit more depth 
than just that. I think we've all got fairly strong 
opinions about what's going on in the world, 
and even just within the little circles that we're 
involved with as a band. One of the things I've 
noticed this time around is that there seems 
to be a lot of kind of celebrating what there 
is. Don't get me wrong. I think it's great that 
bands go onstage and everyone has a good 
time and has a bit of a dance, whatever. But to 
me, there's a bit of an opportunity there for 
like-minded people to manipulate and use that 
situation in a broader way. It is about having 
a good time, of course it is, but that doesn't 
mean you can't have some sorta stimulation 
involved as well. I think if you just go onstage 
and play loud music, that kinda stimulation can 
be lost, unless you find other ways of draw- 
ing it out. I think, realistically, I've been away 
from that kinda scene for a number of years, 
even though I've continued to record and deal 
with punk bands in the studio, day to day. But it 
does feel to me that a lot of it has kinda lost its 
political edge in favor of being just a celebra- 
tion of being punk rock. We'd like to bring a 
little more to the table than that. 

fine Fine Music 
Cassie J. Sneider 
135 pages • $15.00 
RAW ArT Press 

There are countless writing feats that Cassie j. 
Sneider is very good at. Making similes with 
breakfast cereal is one, as is reducing a situation to 
a boiled down truth, whether it is about struggle, 
the pain of being an outsider, or just realizing 
that you've been driving around with ripped out 
porn stuck to your bumper. She can be counted 
on for coming up with a satisfying ending for 
each vignette like "finally I understood that the 
luckiest person is content with the least." She is 
very clever, funny and resourceful even though 
mostly it seems like this book is a more a collection of punch lines than a cohesive 
book. But after all these are short stories, and they carry interesting narratives and 
have opportunity for reoccurring characters such as herself, friends, her parents 
and her sister who you get to know through various bleak circumstances. Hardly 
adventures, but rather terrible jobs, family vacations, childhood memories and 
late nights bored in her room, all set the tone for the strange awakenings that are 
relatively ordinary but are the strength and telling hallmark that this is about an 
alternative life— and one that fits her audience. 

She loves talking about growing up a poor, working class weirdo, experiencing 
good of freak status as a result, and how much rock'n'roll has influenced her "do 
nothing, go nowhere" lifestyle. Probably the funniest story deals with picking up a 
very Christian hitchhiker: "The car fills with silence, and I start to wish for every 
other kind of uncomfortable silence I have experienced in my life. The Break- 
Up Silence. The Just Walked In On Your Roommate Watching Porn Silence. The 
Grandpa Just Shit His Pants at the Thanksgiving Table Silence. AH of those silences 
are walks in the park when compared to The Driving With a Hitchhiker Silence." 
I especially identified with the one about trying to creep out the creeps who sit in 
their cars waiting to see if they can spot some HJs at the cruising spot, or trying to 
make money at the Garage Sale and realizing what kind of shitty grown up you will 
one day become as you observe the drifter collecting weird trash you've been trying 
to get rid of. 

The most poignant part I found was in the story "Mole," where she discusses 
dealing with the early death of her father, a "real" subject where the exploration 
has a heaviness you can't just turn the page and forget about. I felt like she hit her 
stride here; catching the frailty of youth and difficult coming to terms with change 
and life, while also maintaining the semblance of capturing the moments of truths 
in the details: "From within the pines of his coffin, my father makes a fist," as she 
imagines her father's potent protectiveness when her Kindergarten teacher becomes 
an unforgiving bully. I was left with a welling tenderness as I realized the brief 
descriptions end so quickly; she barely gets started before she cuts to the quick and 
moves onto something else. 

Another of my favorites deals with Cassie at a job interview, where the employer 
sizes up her outfit first: '"You look like a stand-up comedian' she said giving me a 
hard stare. 1 had to make the executive decision that any job that may require me to 
put something in my butt to test it out did-not require dress clothes for the interview. 
I was wearing a western shirt, jeans, and sneakers. Basically she was saying I looked 
like Bob Saget'" 

One unfortunate thing I feel is true of a lot of punk writers (and I would like 
examples of when this is not the case) is that it feels like there is reason shit is self- 
published. Perhaps this whole book could have used a few rounds with an extra set 
of eyes or several; someone to stand over the old shoulder and check for repetition 
or glaring diary entries and some of the less punchy dialogue. I would have advised 
her to stick to the family stories since they seem the most thought through, or 
whatever, and stay away from the poetry readings. Not to be all "What have you 
done for me lately," Mr. or Ms. Editor, but at least a few of the stories in here feel like 

filler, and maybe this whole piece would be stronger with just the hits, you know? I 
know Cassie can knock a few out of the park. 

Jf you agree with me that Cassie is a great writer, keep an eye out for her next 
book: she is working on a biography of Blag Dahlia which informs me that she has 
a bigger scope than just this here little tome. I am interested to check that out since 
I think her writing skills are top notch, and with an outside thyself, slightly more 
objective writing topic I expect her to shine. 

— Julia Booz Ullrey 

Inseparable: The Memoirs of an American and the 

Story of Chinese Punk Rock 

David O'Dell 

200 pages. $18.99 

When I saw this book come in the mail I was 
instantly excited but with a tinge of reluctance. 
At second glance the book looked like a recipe 
for disaster a young, white, male, college student 
from Texas, writing about his time spent abroad 
in China. I felt like there would be the common 
veil of orientalist/imperialist pretention over 
the whole book, but as I began to pluck my way 
through the pages, I would soon be proved wrong. 
The author notes in the forward that "for every 
five years in the west, that is equal to one year in 
China." So here we are in 1995, set against the backdrop of China's move forward 
from "Chinese Centric Socialism" towards becoming the booming neo-capitalist 
powerhouse it is today. In the foreground is a young American punk, David O' Dell, 
who takes us on a journey through the smog-laden streets of Beijing. He starts with 
the humble beginnings of an early punk show at the Solutions Bar with the first 
noted Chinese punk band, Underbaby, and it's singer Gao Wei (described here as the 
Godfather of Chinese Punk). After that show the story is opened further by David 
sharing his homemade mix-tapes with Gao Wei and his crew. The tapes contained 
songs from Bad Brains, Misfits, Dead Kennedys, X-Ray Specs, and many more. This 
introduction to Western punk was an inspiration to a hungry underground culture 
yearning for new sound. But like most early Chinese punk bands, rather than 
emulating Western bands they were citing these bands as influences and creating 
their own style. The first wave of bars that held punk shows, such as Angel's and 
Club X, have the likened electric energy of the early days of the Masque in Los 
Angeles or CBGB's in NYC. This widespread explosion of shows started gaining 
national and international press, putting heat on the scene from the Cops and the 
still strict Chinese government. 

The story then delves into the second and third wave of Chinese punk (which 
later becomes pop-punk), even devoting a chapter to the Chinese Oi! scene which 
is somehow accredited to getting kickstarted by a Hard Skin CD brought over to 
Beijing by a UC. Berkley student named Rusty. 

There are parts of this book that really surprise me (in a good way) like the 
inclusion of a whole chapter on "The Ladies of Chinese Punk Rock," which David 
thought would be unfair not to include because they contributed as much to the 
scene as their male counterparts. 

Inseparable is filled' with ephemera and memories, broken up nicely with 
pictures and song quotes, intermingled with newsprint clippings, scanned photos 
from zines, and old show fliers — each picture and piece perfectly depicting the raw 
frenetic energy of a scene that could just as well be found anywhere in the world. 
But rather than just a chronology of a music scene, just like the history of punk does 
in any country, this book describes a changing culture and government through 
the lens of punk. David's frank yet descriptive writing style makes this a pleasure 
to read and the knowledge you gain of the underground punk scene in China is 

—Danielle Gresham 

■ ■■:■ ' . . 







As I mentioned in my last column, I went to see a special screening the 
1927 silent film Napoleon at the Paramount Theatre in Oakland, CA. The 
Paramount is an amazing restored art deco theater that originally opened in 
1931. Seeing a five and a half-hour silent film in this setting accompanied by 
the Oakland East Bay Symphony sent me in a time warp back to the early days 
of Hollywood where going to the movies seemed much more glamorous. It is 
the way to see this film even if 1 went in my usual dress. 

Napoleon was originally intended it to be the first of six films about 
Napoleon Bonaparte, Emperor of France. Director Abel Gance was not able to 
raise the money to make the other parts. He almost didn't raise the money for 
this one. Being the beginning of the story the film covers Napoleon's childhood 
at military school through his rise up the ranks of the French military. It is 
interesting to view only this aspect of his life. He seems almost sympathetic. 
He was an outcast, constantly being put down for being Corsican, who rose up 
the ranks of the French army. 

The film is known for utilizing innovative filming techniques — most famously 
the use of Polyvision, which extends the film to three screens simultaneously. 
This device is used at the end of the film as Napoleon motives his troops to 
attack Italy. It is incredible to watch it extended across the giant Paramount 
stage. My favorite part however was the scene where Napoleon returns'to the 
Ponverition where he was given command of the Army of Italy. He goes there 
to get inspired lead the army. The ghosts of proceeding revolutionaries appear 
to him and declare that he is the one to lead the revolution. The scene is 
wildly over the top and full of the type of self-delusion that is exactly for what 
Napoleon would later be known. It is brilliant, ( 

One of the best live music shows I have ever seen was the Reatards first Sari 
Francisco show at the CW Saloon in 1999. Word spread of the greatness of that 
show so quickly that when the band appeared a few days later at the Boomerang 
on Haight Street, the crowd had quadrupled in size. Of course, this trend would 
continue throughout Reatard's life as he formed Lost Sounds, Angry Angles, 
and numerous othet bands, and went solo as well as reforming the Reatards. As 
word got out of his amazing and at times unhinged performances, the crowds 
continued to get bigger. He never had the time to get mainstream recognition, 
if he even would have, before his death at age twenty-nine. 

Better Than Something is a documentary aboutHeatard. It is centered on 
an interview he did in 2009, months before his death. As someone who has 
listened to his music since the beginning, reviewed the first Reatards 7" for 
Maximum Rocknroll, and enjoyed his music ever since I am disappointed by the 
focus on the later solo years. Most people interviewed in the film note 2006s 
"Blood Visions" as the time they discovered Reatard's music. That is always an 
unfortunate and unavoidable aspect of making a documentary. Almost no one 
gets his/her life documented during the more interesting formative years. 

Better Than Something is fortunate because Reatard did not censor 
himself in that interview. He tells all the dirt including his brief stint as a 
crackhead and his Halloween practical joke of biting a head off a pigeon. 
Unlike Ozzy Osbourne, he actually did it. As amusing as these antics can be to 
an outsider, what 1 came away with from Better Than Something was a new 

appreciation for how talented Reatard was. He began recording his songs on a 
four-track when he was fifteen playing all of the instruments himself. He was 
able to lay down drum tracks perfectly in time without the use of a click track 
simply by playing the part as he had it in his head. Whenever a label asked 
him to release a record he usually recorded something in a few days for them. 
He was endlessly prolific. It is too bad that the rock and roll lifestyle stopped 
him from continuing his music. I would have liked to see where he was going. 
( ) 

Fellow MRR shitworker Mitch Cardwell directed me to a great clip on 
youtube of Reatard performing with Greg Cartwright at the Antenna Club in 
Memphis on May 24, 1996. It is a bit hard to find since the poster spells his 
name "Retard," but definitely worth the search for a glimpse at the very early 
days not covered in the film. 

Sound of Noise starts with a metronome being placed on the dashboard of 
a van. A woman is driving while a man plays a drum set in the back. As the 
van accelerates, the drumming gets faster. The woman steers on to the freeway 
onramp. The drumming continues and the metronome ticks away. Shots cut 
between the freeway, the van's odometer going higher, the drummer, the driver 
and the metronome. To slow would stop the rhythm so she drives through red 
lights and is finally chased by the cops. 

The couple is musicians who are constantly looking for new ways to make 
exciting music. One of them Magnus writes an opus called "Music for One City 
and Six Drummers" and the other Sanna sets about gathering the drummers 
to perform it. Since theit driving drum performance they are pursued by police 
officer Bengt Nilsson who comes from a musical family. His brother is a famous 
conductor. However, Nilsson is tone-deaf and as a result hates music. 

Although the conflict of the established versus experimental musical scenes 
provides a bit of a plot, it is the musical perfonnances that make Sound of Noise 
really entettaining. The drummers perfonn in a hospital, at a bank, outside 
the symphony where Nilsson's brother is conducting and while dangling from 
electrical wires. Each scenario uses the tools and equipment of the location to 
create the music. It is done creatively and very amusingly. Although the music 
itself is somewhat '80s experimental in the style of Art Of Noise, the visuals 
are what make the music exciting. Money is shredded in time and opening and 
closing anesthesia tanks forms a rhythm. 

Sound of Noise played at the San Francisco Film Society Cinema. The 
theater has been open for a few months at 1 746 Post Street, San Francisco. It 
is a great place to see a film. Check out their schedule at I hear they 
are having a hard time getting people in, but I think it is because people don't ' 
know about it. See a film there. Then tell your friends what a great place it is. 

For all you people who read MRR for the movie reviews and may have 
missed my review of the Normals "Vacation to Nowhere" CD in the record 
reviews section. I want to point out that the CD version of this great album 
comes with an equally great DVD of the band performing live at The New 
Place in the New Orleans suburb of Metairie on April 26, 1980. The liner 
notes point out that the footage was found at a garage sale. Really? How did 
that happen? But 1 am really glad it was. The footage is above average for what 
I assume is a VHS copy. It starts off a bit oddly with extended static shots of 
bass player Steve Walters, but once the cameraperson either figures to 
use the thing or finishes her/his beer the camera work improves and you really 
get to see the band in action. The sound quality is really good too- If I was there 
I bet 1 would be like the pogo-ing guy' in the blue shirt at the front. Boy, can he 
jump. Amazing, ( 

1 am always looking for films to review. If you made one, send a copy to 
Carolyn Keddy, PO Box 460402, San Francisco, CA 94146-0402. If your 
film is playing in the San Francisco Bay Area let me know at carolyn® I will go see it. 




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find us on facebook for specials. 

Yeah, yeah... we still got all kinds of stuff. 

Lets Grow "Disease of Modern Times" LP 

Ruido s/t LP 


V/A 'Thrash of the Titans 2" LP 

Bring Down The Hammer s/t CD 

The Divided Lines "Music To Spazz To" 7" 

Larkin "Reckoning" CD 

Ciril "Hysteria Driven" LP/CD 

Meet The Virus s/t CD 

Scarred For Life "Born Work Die" LP/CD 

Dead Man's Choir "She Don't Like It" 7" 

Insult "I Wanna Be A Burn Victim" CD 

P.O. BOX 90579 
j www, my spacc.corn/lcnowrecords 


Send two copies of vinyl or CD-only releases (if on both formats, please send the vinyl) 
We will review everything that falls within our area of coverage: punk, garage, hardcore, 
distros. Please include postpaid price and contact information. Let us know where your 
without final artwork. 

to MRR, PO Box 460760, SF, CA 94146, USA 

etc.— no major labels or labels distributed by major-affiliated 
band is from! No reviews of test pressings or promo CDs 


(MA) Matt Badenhop 
(MB) Mariam Bastani 
(BB) Brace Belden 
(WB) Will Blomquist 
(GB) Graham Booth 
(JU) Justin Briggs 
(MC) Mitch Cardwell 

(WN) Robert Collins 
(BD) Brian Dooley 
(SD) Sean Dougan 
(AE) Amelia Eakins 
(FF) Francesca Foglia 
(LG) Layla Gibbon 
(DG) Dan Goetz 
(GG) Gemma Greenhill 

(JH) Jason Halal ' 
(GH) Greg Harvester 
(MH) Mike Howes 
(KK) Kenny Kaos 
(RK) Ramsey Kanaan 
(CK) Carolyn Keddy 
(BL) Brad Lambert 
(SL) Sam Lefebvre 

(P$) Paul Lucich 
(RL) Ray Lujan 
(MM) Marissa Magic 
(KM) Kevin Manion 
(JM) Jeff Mason 
(AM) Allan McNaughton 
(TM) Tony Molina 
(LP) Langford Poh 

(RO) Rotten Ron Ready 
(FS) Fred Schrunk 
(JS) Jess Scott 
(MS) Martin Sorrondeguy 
(AU) Andrew Underwood 

ACUTE -"M-Siren" CD 

After a run of pretty solid releases, including the 
Okizaki City Triangle Attack comp CD and a single 
on Answer records, ACUTE have lost their singer and 
radically revamped their sound. Unfortunately, I can't say 
I really appreciate their new direction. The earlier stuff was 
dark hardcore with striking female vocals and occasional 
odd melodic, bits, while this new material goes in a more 
straightforward Japanese hardcore direction with some 
very strange digressions into traditional Japanese music 
and chanted vocal parts. Not terrible, and a very nicely- 
presented CD album, but a little disappointing compared 
to' the earlier stuff. (AU) 

THE ADAMSEED - "Sshh Sshh Sshh You're Going to 
See the Angels Now" CD 

This is actually pretty good compared to most of the 
CDs I get. These folks play straightforward punk. The 
vocals remind me of the guy from HEX DISPENSERS, 
but a little overdone. Musically it's mid-tempo with nice 
tight drumming, which again, seems over the top and busy 
for the melody. All in all, this ain't bad, but doesn't elicit a 
fuck yeah. (BD) 

AGENT ATTITUDE - "Never Ending Mess" EP 

Nine tracks of hardcore from Sweden. This fits 
in nicely among many of the bands from the USHC 
resurgence of the early to mid 2000s. They hate reality and 
rules, and love skating and beer and hamburgers. Nothing 
groundbreaking— just more raging hardcore thrash with a 
few breakdowns and plenty of circle-pitting. (MA) 
(Green Machine/Monument/De:Nihil) 

ALABASTER CHOAD - "Crash of the Limburger On 
Bebuslad" LP 

You know that kid in your middle school math class 
who was always drawing really sexually graphic pictures 
of dicks and butts? Imagine if you fed that kid a shitload of 
LSD and locked 'em in a haunted house with some musical 
instruments and a couple of perverted radical queers. This 
is the music you'd hear emanating through the walls. It's 
like nothing else you're gonna hear. It's a style that knows 
no genre, just a spooky reflection on a wild reality set to 

punk music. Do you have a twisted mind? Do you like 
dirty jokes, dirty thoughts and dirty partners? Well, then 
grab this album, take all those pills and be sure to have 
some herbal tea ready for tomorrow. Your throat is gonna 
need it after all the screaming in the streets you're gonna 
do tonight. (FS) 

ALBERT FISH - "City Rats" EP 

Four songs of by-the-numbers punk rock from Portugal . 
This is upbeat but basic streetpunk riffs, anthemic choruses, 
and plenty of backup vocals. It's well done for what it is, 
and there's never any shortage of demand for bands that 
you can sing along to after the first verse, one arm around 
your buddy's neck and the other waving your beer in the 
air. Cheers. (AM) 
(Bandworm / Qishop) 

ALL THINGS END - "Here's To Those Who Wish Us 

Why do I have a feeling that the members of this 
band has a well worn copy of JAWBREAKER'S 24 
Hour Revenge Therapy and a second generation burn of 
LEATHERFACE's Mush sitting next to their stereo at 
home. ALL THINGS END has that melodic punk sound 
that is often affiliated as that "Fest" sound ala NEW 
feeling is strong, especially on the first song "I Say," 
except with more of a gang vocal thing going on. The 
next two songs do have a little bit more of a mid era Fat 
Wreck Chords sound thrown into the mix. The final song 
is unfortunately the too predictable stripped down semi 
acoustic song about drinking and forgetting. Overall, this 
record is good, but a little predictable. Limited to 500. (JF) 
(self- released) 


Side A of this record is a generic metal tune. Bang 
your head or whatever. I don't listen to this type of music, 
but even I can tell it is by the book. The one thing it has 
going for it is the lack of cookie monster vocals. However 
side B, "Indian Man" is catchy as hell. It still has a hard 
rock sound, but with a pop edge that sends the song to 
somewhere else. The pace is faster and the vocalist sounds 
frantic and garage-ier than on the other side. The metal 

l llwrt M 


guitar pokes in here and there, but mostly it is 
restrained. The song is all rhythm guitar, drums 
and vocals. It is just a great song. (CK) 
(Pau Wau) 

ANOMALYS - "Retox" EP 

New single on Slovenly from this manic 
Dutch three piece. Kinda surprised dropping the 
needle on Side A, expecting some in your face 
garage punk to lead off the single, but nope, 
this has a more modest swagger: a tremolo 
laced trash rock shouter a la the CRAMPS. 
Side B sounds more like what I expected, a 
fast paced fuzzed out punker. Both songs have 
these creepy '50s B-Movie spacey reverb laden 
effects giving them an interesting edge. These 
guys must put on an amazing show. (GB) 

ARMATRAK - "Thru My Eyes/ 
Corporation" one-sided 10" 

This is an insane package, it would be a 7" 
if it wasn't an elaborate one sided lathe cut 
with weird burned/cut out flames that extend 
out making it a 10"/7" hybrid? It's a reissue 
of a New Zealand HC band from the late '80s 
who played post-revolution summer style, if 
you like early SOULSIDE this will be right 
up your street, also REASON TO BELIEVE. 
ARMATRAK played melodic hardcore very 
much matching what was happening during 
this period in various parts of the world, with 
personal meets political lyrics that are delivered 
in an earnest yet angry manner. From what I 
can tell from the minute amount of information 
about the band online they were a resource 
for the local scene in distributing international 
hardcore to NZ punks... This is limited to 60, 
so I am sure the local NZ punx have snapped it 
up, but it's a pretty sick artifact. Our copy came 
with tons of rad vintage looking band stickers. 
(self-released, no info) 


It's like PENNYWISE trying to do hardcore, 
but not as bad as that sounds. They totally have 
that melodic punk vibe and are catchy like the 
CASUALTIES. These kids mean well and their 
hearts are in the right place. AUSCHWITZ 
RATS are from Poland and did a fine job with 
the layout of this CD. The insert is really nice 
and the imagery used is "punk as fuck." If 
you're a teenage kid just getting into punk, this 
is right up your alley. (AE) 

BACK TO BASICS - "In The Cloud Seven" 

Surprise surprise, another great band out of 
Japan. BACK TO BASICS simply nail their 
personal brand of mod-flavored power pop. Like 
a Japanese SMALLTOWN, they meld elements 
of the CHORDS etc with strains of SNUFF or 

J CHURCH. The riffs, melodies, and vocals are 
all so catchy. Three of the four numbers are so 
top notch that you'll forgive them the slightly 
throwaway instrumental. (AM) 
(Fine Tuning!) 

BAD ADVICE - "Do Not Resuscitate" EP 

A posthumous release from this RVA "super 
group" that featured members of DIRECT 
DAGGER. I managed to see about three 
minutes of their set at No Way Fest '07 and was 
way into it; BAD ADVICE was the first band 
on the first day and for some reason they started 
playing while most people (myself included) 
were still waiting to get in. I would've liked to 
have caught their whole set, especially since 
their performances were sporadic at best, but 
also because they played snarling, catchy, 
straightforward hardcore punk in the vein of the 
NECROS and F.U.'s. Three of the four tracks 
on here are of the speedy variety, but the real 
banger is the last song, "Chemical Imbalance," 
which is a bit slower and channels the angst 
of all your favorite early '80s hardcore bands. 
An excellent record all around; though they're 
broken up, you should definitely listen to BAD 
(Grave Mistake/Tension Head) 

BAZOOKA - "I Want To Fuck All The Girls 
At My School" 

They got moments of cavemen sludge 
delusions, moments that sound like crying on 
a boner, like a lewd version of the NERVES. 
Like instead of being a sad romantic pathetic 
like the NERVES it's like a frustrated horny 
pathetic. But then they'll get into these more 
upbeat pop yelp garage parts and I lose interest, 
like it gets distracted by hope for good fun times' 
or something, and then it just gets shitty and 
embarrassing. What I'm trying to say is I wish 
they'd keep it more bummer. Seriously turn 
up the drone grunge, go with the weird, let the 
pathetic flow. Cry on that boner. (MM) 

THE BEAVERS - "Don't Go Away" EP 

Oddly, I pulled out the BEAVERS split 7" 
with GAUNT the other day. When I saw this 
record, I assumed it wasn't the same band. Well, 
shame on me. This version of the band has two 
of the members from the '90s incarnation joined 
by a new rhythm section. This is some messy 
rock with a Back From The Grave mentality 
and one nasty sounding singer. The vocals are 
the highlight. They are so mean and dirty and 
give the more straightforward music a kick of 
punk attitude. Nice. (CK) 
(High School Refuse) 


BEVERLY KILLS has to be one of the most 
generic band names ever, it's like one of those 

hairdressers^that are named with a spectacularly 
obvious pun— a Cut Above, Hairport, you 
know the deal. (Or maybe this is only a thing 
that happens in England!?) This band name 
is. the punk equivalent. This all female band 
sounds like they should be in the prom scene 
of a '90s teen movie, sorta SAVE FERRIS 
mashed up in a RAMONES cover band; I can 
imagine them supporting NO DOUBT in 1992. 
This isn't something I enjoy imagining. But 
they are really tight and write solid mainstream 
pop-punk hooks, and if they weren't stuck on a 
split with one of the most boring, tireless, bar- 
rockingly moronic bloke-ish bands to emerge 
from punk I am sure they would make some 
teenage girl's roller skating party whirl. We get 
a DESTRUCTORS CD every month. Every 
time I am assigned it my heart sinks. The songs 
on this one are all themed on religion as the 
opiate of the masses, with three chord chunkers 
beating your brains as another guitar lick 
reaffirms this band as the eternal support band 
at Holidays in the Sun 2001 or some shit. CDs 
are not biodegradable, therefore this band's 
continual output is an environmental outrage. 
No No No NO. Get it away. (LG) 
(Rowdy Farrago) 

Truth" CD 

While the cover suggests a modern crossover 
thrash record and the pictures of average 
looking short haired dudes does not indicate 
that you are about to walk into a raging inferno, 
from the minute you press play this disc will rip 
you to pieces. BEYOND DESCRIPTION have 
been perfecting their brand of metallic Japanese 
hardcore for two decades now, and Proof Of 
The Truth does does suggest any slowing 
down. Think early metal influenced Japancore 
like GIGANT, GEESE or C.O.S.A. and inject 
modern thrash and some seriously over the top 
guitar work. There are some vintage Hetfield 
howls thrown in for good measure, but this is 
still the shamelessly DIY and fiercely political 
BEYOND DESCRIPTION that have been 
cranking our records since before most punks 
were punks. A little more letal in the mix never 
hurt anyone. (WN) 
(Crimes Against Humanity) 

Time Now" LP 

What a confused, unlistenable LP this is. 
Brain Tune Now features several of the annoying 
trappings associated with the worst of late-'90s 
emo/HC, but then dives headfirst into today's 
indie-fock-masquerading-as-punk cesspool. It's 
the kind of thing that might be appealing to the 
hobo youth demographic and/or the freshly- 
fucked hipster set, but it just makes me wince. 
(No Clear / Infintesmal) 



A truly abhorrent mixture of street punk, thrash and 
crust. These guys are from the East Bay and apparently 
play out quite a bit. Good to know, if only so I can make 
sure I never subject myself to this horse shit in a live 
setting. There's actually a song on here that glorifies pyrate 
punx. An unspeakably terrible album. (KM) 


I, in full, unforgiving ignorance, will assume that by now 
the hype surrounding this LP has at least registered a blip 
on the radar of anyone reading this review. To one extent 
it's completely baffling and unlike anything I've seen in 
my twenty years involved with punk, but on the other hand 
it makes perfect sense, considering THE STRANGLAH' 
has such a pretty broad-sweeping appeal when you really 
look at who would and should be into this record: regular 
ol' hardcore punks, edge-ers of all stripes, speculative 
record flippers, lunkheads, and of course anyone else with 
impeccable taste (for classic US [and more specifically, 
Boston] hardcore). To be honest, as I sit here listening to 
this LP (at maximum volume) the only thing crossing my 
mind is how hard I wanna slam, shove, and stagedive feet- 
first into everything around me to these tough riffs, pissed 
shouts, breakneck changes, and tightly wound executions. 
You see, my .heart beats to the pulse of this shit, and there 
is no escaping it's effect on me. There is something to the 
■ "classic" Boston he sound that you can't really describe— 
JERRY'S KIDS sound nothin like THE F.U.'S, who 
sound nothin' like SS DECONTROL or NEGATIVE FX, 
etc.— but there's a unifying ignorance, and arrogance, and 
confidence, and fucking riffs, man, that pours out of these 
bands that shines above all other music ever written, played, 
and set to wax that is unmistakably "Boston." Maybe it's the 
water, but whatever it is, it's also in the grooves of Primitive . 
And I'm 100% unapologetic saying this. Not saying that 
Primitive is the greatest record ever, at all, but it w here 
and now, and has a firmer grasp of the bloodline of what I 
do deem to be the greatest music ever made, than anything 
since, so, yeah... Does it live up to the hype? Honestly, no 
matter what, there will be naysayers that disagree, so you 
need to judge for yourself, and if you can't tell what my 
opinion is on the matter, you're in need of some serious 
learnin' . It can't all be peace and love. (JU) 
(Fun With Smack) 


Like a brick headed for your face, this record is violent, 
nihilistic, and completely unhinged. Inept in the right 
ways (such as sounding unmastered), competent and 
slightly technical in others, and though a bit uneven in 
terms of song quality —some songs make you want to kill 
people while others are merely "good"— the ratio of good 
to kill is enough to justify an LP worth of songs. As for 
the music itself: it's very much in the Japan via Cleveland 
spirit, and not unlike a theoretical missing link between 
the HI 00s and the Japanese bands they were listening to 
when they wrote the Dismantle EP— played somewhat 
loose but never falling apart. This is good, better than 
good as mentioned above, but I have a feeling this band 
absolutely delivers live. Please play the Bay Area with 
(Dead Beat) 

THE BUMS - "Do it All Night" EP 

Alright, so at first I thought this was just another 
one of those sorta GG KING type bands that were like 
"modern garage punk" or '77 or whatever you wanna call 
it, you know like— they like glam music and KILLED BY 
DEATH but end up just sort of sounding like, well, the 
CARBONAS (who I like but you know what I mean). 
Anyways, this group even has the Atlanta-style cover art 
that could be a Rob's House or Douchemaster single or 
something, and hell, the first song definitely sounds like a 
rip of that style. Oh, but wait, the one-sheet says they have 
"groovy bass" and a "melodic saxophone," but there's no 
fucking groove and the saxophone just plays along to the 
shitty guitar which doesn't even do any cool solos. In fact, 
this is basically just shit-drone done by people who are 
morons. This was a waste of my fucking time. "Ex Dick 
Delicious" according the one sheet. (BB) 
(Big Nose) 

CALLOUS - "Mother/Sister" 

This is fucked up, sludgy, angry powerviolence of 
the slow and weird variety. This band is made up of 
dudes from hella other bands like BACKSLIDER and 
CHAINSAW TO THE FACE, but the music on this record 
is way slower, distorted, and drugged up. It has a definite 
psychedelic feel to it but noisy, primal and angry. Like if 
I were to eat a bunch of mushrooms and decide to rob a 
liquor store, I would listen to this record in the parking lot 
while I loaded up my guns. Kind of like STRESS RELIEF 
if Eric Wood joined the band and took over. I'm really 
digging on it. (BL) 

CANDY NOW! / STACEY DEE - split 10" 

This mongoloid vinyl is one that I can't really wrap my 
head around but I'll try to break it down. It's a split record 
between two bands that sound the same with all songs on 
the record written by the same guy (from the DWARVES). 
Most of the songs on here are stinkers without really any 
sort of value. One song stands out as being too ridiculous 
to hate. "Take Me To Your Leader" is a song that sounds 
like it'd be from the bar band in a bad late nineties movie 
starring the guy from Hackers and SLC Punk. Plus, in case 
you hadn't gotten your hourly fill of LIMP BIZKIT or 
BLOODHOUND GANG there is a DJ or someone else 
scratching! There are male and female alternating vocals. 
I'll type out the lyrics. "I want to trip with the (r)alien fleet 
/ had a spaceship land right at my feet / then a girl walked 
outside / with x rays in her eyes / and a message intended 
for me / she said / take me to your leader / I've got love 
information of cosmic creation / take me to your leader 
man (DJ scratches) / 1 inquired of her mission / her favorite 
position / she told me: these questions must stop / cause 
she can't be dissuaded until she made it / with someone 
who ranked at the top / she said I am looking for the man / 
and I can save the promised land / my fine body is the key 
to set your people free /now please take me to your leader 
/I've got much procreation for black and Caucasian (I 
could be mistaken) / (DJ scratches)" Then it keeps going, 
but that's enough. "My fine body is the key to set your 
people free." Some things are deeply evocative. (PS) 
(No Balls) 

$~ffmtt iBuiuficr Aolfciti 


KiVS ijf 




This is a reissue of a 10" of a CD that came out 
back in 2007. I've always felt CATHETER was 
an underappreciated grindcore band. The facts 
that they don't try too hard, or tour that often 
and their output is sporadic are probably some 
of the reasons. They have only released a couple 
of splits since this 10" originally came out. 
On this 10" they continued their long running 
grind output with more excellent grindcore. 
The production is sound great, and the vocals 
are understandable a lot of the time, giving it 
more of punk feel . The guitars have a wonderful 
buzzsaw tone and the band changes speeds on 
a dime. I've always had trouble finding words 
to describe MASSGRAVE and I think that's 
because they fall in a gray area between crusty 
hardcore and grindcore. At times they sound 
like a generic mid-paced crusty hardcore band 
but on other songs they blast away with a fresh 
sound. "Fueling the Hate" is a great example of 
them at their best. A short track that starts with 
some feedback and rumbling bass that rips into 
a fast almost-grind section where the drums are 
fast but guitars are slow. Then the track changes 
to mid paced crusty punk. An excellent split. 

(Bad People Records/Burnt Bridges/To Live A 
Lie/Haunted Hotel) 

CHEAP FREAKS - "Bury Them All" LP 

Just when this month looked like it gonna be 
total shit, Bury Them All lands in my lap and 
gets my blood bumping. CHEAP FREAKS 
seemingly do it all: itchy garage punk moderne, 
'60s organ-driven ass-shakers and catchy, 
excellent punk. It's everything I like, all at 
once! Immediately comparable to a band like 
the MISTREATERS, should that further float 
your boat. A first-rate garage punk record in 
2012. Who knew? (MC) 
(Big Neck) 

CHINESE BURNS - "Calculator" EP 

The previous two singles by CHINESE 
BURNS are personal favorites of mine. In 
fact, I think I ranked them as my top picks 
for 2009 and 2010, respectively. Calculator 
offers four tunes that don't quite measure up to 
previous moments, but still manage to impress 
greatly. Short, simple songs, heavily indebted 
to WIRE, but "now" enough to be mentioned 
right alongside fellow Aussies like OOGA 
BOOGAS. Still... they are a better band than 
what's featured on this EP. I'm quite anxious 
to hear what they'd do with an LP, so please, 
someone, get on that quick. (MC) 

CHUMPS -"Shivist" LP 

I saw JESUS LIZARD and KUDGEL once, 
and that's what this disturbed, pounding, bass- 
heavy, distorted-vocal, eight song LP reminds 
me of. The bass and drums work you over on 

what would be the chorus in regular rock'n'roll. 
For the most part, fucking around with various 
time signatures does not detract from this 
attack. Particularly on. the second side, they 
drift into pleasantness, conventional choruses, 
acceptable singing. I'm looking for more "ugly 
and crazy" and less "safe for office workers." 
Check out the A side if you wanna get smacked 
around some.(JM) 


CLUSTERFUCK plays fast, upbeat 
hardcore-punk and barely give you room to 
breathe between their three songs. They take 
on the topics of sell-outs at the Warped tour, 
frustration and being a fuckhead. It sounds like 
a circle pit of teenagers in the best way. On the 
flip side, we have COJOBA, who started way 
back in 1995 in Puerto Rico. They place a little 
more emphasis on the hardcore side of the 
hardcore-punk label, but they don't eschew the 
melody. Lyrics are sung in Spanish. (GH) 
(Computer Crime) 

CONDITION - "Deteriorating" EP 

A limited to 350 copies EP, with five 
tracks of blown out, riff-driven hardcore from 
Los Angeles featuring members of TRASH 
TALK, DNF and RAW NERVES. Vaguely 
incorporating some of the influence of the 
noisier aspects of early Swedish hardcore and 
its subsequent re-interpretation of that Swedish 
re-interpretation of early UK hardcore by the 
Japanese; the end result is far less confusing 
than I just made it sound. Simplistic, primal 
pounding scraped with raw screamed vocals 
with lyrics about war and media control and 
pictures of dead people on the cover. A sturdy 
blasting that doesn't reinvent the wheel, just 
gives it another solid turn. (KS) 

- split EP 

I can't wrap my head around the packaging 
aesthetic of this record. It includes 3D glasses 
to properly view the illustrations, but the insert 
is a hastily chopped hack job lyric sheet that 
looks worse than any given page of Pork. It's not 
chopped evenly and the edges bear the signs of 
attempting to cut too many sheets with a paper 
cutter. More care is put into handbills. I won't 
apologize for spending so much time criticizing 
the weird incongruity of this record's packaging, 
this is an important aspect of any record. The 
CORROSIVE KIDS side is upbeat garage with a 
vocalist taking cues from both the stylized hiccups 
of rockabilly and BIAFRA's affected wails. The 
music is strictly a case of being precisely the sum 
of its parts. None of the players excel in their 
respective roles and the chemistry between them 
is rather flat, like wage earners laying down an 
uninspired garage parody. Really, the same could 

be said of DOCTOR'S WIVES, from a purely 
instrumental standpoint, but they've got manic 
song structures, better tones and a compelling 
female vocalist to rectify their instrumental ly 
formulaic character. The vocalist's power comes 
from an uneasiness that's hard to pin down, but 
takes the group to the next level. (SL) 

COUNTERATTACK - "Blastersword" CD 

These crusty Japanese hardcore vets 
(members of LIBERATE and JYUDEN 
SOUCHI) are showing the kids how it's 
fucking done. Eight quick blasts of heavy 
metallic hardcore in the vein of CLOWN or 
ORGANISM, with shredding solos, stop-on-a- 
dime breaks and vocals so tough it sounds like 
the singer's trying to slap you right through 
the speaker. These songs are so hard, they'd 
make today's yoga-doing, tour-rider having 
incarnation of the CRO-MAGS run home to 
their mommas. Face-punching Tokyo hardcore 
at it's finest. (AU) 
(Punk Alive / Under the Surface) 


Each band delivers three songs making this 
little EP half a LP, which is pure value. First of the 
DISCONNECTS— high-energy punk rock that 
comes off as a mix of 1977 England and 1980 
LA. It's pressed the attitude button and slapped 
the energy switch straight into the red. The songs 
stick like shit to a blanket, the hooks are a penny 
a dozen and the rock truly is maximum. Think 
the ADOLESENTS meet the UK SUBS meet the 
BUZZCOCKS. Loving it. Next up to the starting 
blocks CRAZY AND THE BRAINS coming 
from the power pop meets the doo-wop school 
of guitar thuggery. A slight hint of the BLACK 
LIPS shines through," whilst holding some off 
that indie pop charm of the NODZZ. This band 
can pen a tune, can move a dance floor and wipe 
that "I'm working Saturday" frown right of my 
face. Both bands have got that something special, 
namely great song writing backed up with 
abundant energy. Best split I've heard in a long 
long time. (SD) 
(Bald Longhair) 

CREATURES - "Vesuvius" LP 

The metallic hardcore on this disc is pretty 
solid. It's not a revolution in the genre but this 
crew sounds ferocious and the riffs are heavy 
throughout, giving the band a real steamroller 
quality. Some of the more metallic riffage is 
reminiscent of the fist pumping SLAYER stuff, 
but the band is well rooted in chug-y, tough 
sounding hardcore. I dig the tone on the guitars 
and bass, that shit really makes the mosh parts 
pound, and they keep it ugly with only a bit of 
melodic riffing late on the second side. Not bad 
at ail. (BL) 
(Twelve Gauge) 



CYMEON X - "Pokonac Samego Siebie" LP 

I reviewed this band's allegedly classic (in Polish 
straightedge circles, anyway) LP from 1993 a few months 
ago, and evidently, they are back together and- this is their 
reunion record with mostly new material. While their 
earlier stuff was extremely '90s straightedge all the way 
down to the giant X's drawn on their hands with Magnum 
markers, this is decent but ultimately nondescript fast 
hardcore with youth crew leanings that is best summed up 
as "this exact style generally only gets released on CD." 
Generally fast and straight-ahead, with rapid-fire vocals, 
the occasional inappropriate guitar wankery, and a belief 
in some undefined "positive change." There have certainly 
been worse comeback records, but that doesn't make this 
any less disposable. (DG) 

DEAD LAZLO'S PLACE - "Growing Old 
Disgracefully" CD 

I know nothing about this quartet, and the CD sleeve is 
scant on info. Other than they all have somewhat juvenile 
nicknames inserted into their real ones. Fortunately, the 
sounds and styles on the disc in question are considerably 
more pleasing. They play pretty standard (four piece, two 
guitars, lots of layered backing vocals) driving melodic 
hardcore, along the lines of a grittier mid-period BAD 
RELIGION,-or a smoother LEATHERFACE. Some great 
guitaring, and some nifty lead work, make this definitely 
a cut about the cluster of bands crowding out the genre. 

DEAD PEOPLE - "Feel The Light". EP 

I mean, I bet it's real fun to bob along to this on the 
dance floor but it just sounds like more of the same to 
me. This is beige, run of the mill lo-fi garage rock. Buried 
under sooo much reverb. I bet it would be a real good time 
live, but sitting here staring at it turn on the table, it's just 
not my jam. (MM) 

DEVOUT - "Job Well Done" EP 

These characters are competent at being a faster^ 
hardcore band for the first three-quarters of the record, then 
they bring in some noisy feedback-enhanced, screamo- 
tinged thing and it all falls into place for me. There were 
a bunch of subtle musical elements I noticed that made 
me stoked on this, but 1 didn't quite put it together that 
there is more going on here until listening to the whole 
record. The aesthetic they are going for seems kind of like 
how OUTLOOK is a slightly odd hardcore band or what 
all those gloomy dark hardcore bands are doing. And for 
an added bonus with this record, if you play it on 33 it 
literally does sound like a rad crusty dark hardcore band. 
I put it on at 33 at first and actually had to ask a friend if 
it was the right speed. She thinks it's better slowed down. 
(Hold Tight!) 

DEZERTER - "Jeszcze Zywy Czlowiek" 2xLP 

While this is probably not the best place for an 
uninitiated DEZERTER listener to start, it is a fukkn superb 
document of one of the most important Eastern European 
punk bands. Jarocin in the 1980s was communists Poland's 

only large scale music festival, but their stage was opened 
up to a few punk bands (SIEKIERA, TZN XENNA, 
DEZERTER) during the early years. DEZERTER's 
performances were traded around tape trading circles 
(and later the internet), but this set from 1984 has been 
lovingly put together with board and audience tapes, and 
the result is amazing. Still suffering from decades old 
primitive analog recordings, their fury is unparalleled and 
this recording includes prevocational readings from WWII 
era communist propaganda literature and confrontations 
with festival organizers (naturally, these bits are better 
for the Polish speaking audience, but you can still hear 
the button pushing and antagonizing coming from the 
stage). They are still active today, and while I'm not one 
to look longingly to the past, this document is absolutely 
gorgeous— liner notes in Polish and English and brilliant 
'80s Polish punk in all of it's raw and passionate glory. 
This band is mandatory, and this release is done perfectly. 
Awesome. (WN) 

THE DIMARCOS - "I Don't Like This Ride" EP 

This is rudimentary thudding, rock'n'roll. The vocals 
are too high in the mix. In fact, any level on these cookie 
monster vocals is already too high in my opinion. No 
hooks, no twists, no turns, no fist in the air moments— the 
songs all sound the same. I'm bored, I need a drink, this 
record is killing me, I wanna go home, I hate punk rock. 
Bye. (SD) 
(Bigger Boat) 

"Don't Pay More Than 5$" CD 

I don't really have much of a frame of reference for 
this band; loud-quiet-loud, dissonant guitars, spastic 
drumbeats, and screamed vocals. Screamo? They are from 
Montreal, which maybe explains the heavy French emo 
vibe. I feel like this is a pretty lazy review, but if screamo 
is your thing, you can go to bandcamp and listen to the 
whole thing before buying, so who needs me? (AM) 
(A Mountain Far) 

DRESDEN - "Extinguish the Cross" EP 

This is one of the better things I've heard from Profane 
Existence in the last couple years. I like my crust ugly 
and pissed and these folks seem, to be cut from the same 
cloth. The guitar work is solid and rips into an occasional 
thrash metal style solo on both of the songs on this disc 
when the music isn't aggressive, galloping D-beat. Lyrical 
content revolves around dark themes like death and hate, 
channeled into a political realm. I really dig the beauty 
and the beast vocals they do, the whole band drops chug 
bombs when the deeper-voiced dude cuts in and it's Bitty 
from WARTORN doing the "beauty" parts so you know 
this is not music for nice people. Not bad at all. (BL) 
(Profane Existence) 

DWARVES - "Fake ID, Bitch" 10" 

I can't describe how important this band was way back 
when in SF. It was a time when there weren't any bands 
here playing straight up fast obnoxious punk rock. They 
were like a breath of fresh air, with shows barely lasting 
ten minutes ending in violence and mayhem while being 
fun as fuck. Well they're still around milking the name and 

::i T 



7J ■■]W% 


■ ■ ■ • ■ —A- 



avoiding getting real jobs. The cover's probably 
offensive to somebody with a photo of cute 
prepubescent girls with the title. Blag's voice 
sounds great as always and he has that knack 
for ripping off great pop melodies but this falls 
pretty flat, There's eleven people in the band 
now!?! You get a rockabilly tune, some hard 
rock, pop punk and even some moments that 
sound like the DWARVES. "You'll Never Take 
Us Alive" is the best tune and the title track is 
unbelievably bad. Overwhelmingly mediocre 
music from a once great band. Help Blag and 
He Who Must Pay the Rent and buy this. (RO) 
(Zodiac Killer) 

DWARVES - "We Only Came To Get High/ 
I'm Not Dead" 

Certainly one could do worse in the quest for 
metallic bar punk. First time I spun this disc, the 
chorus to the A side was in my head as I biked 
away from the house. Don't get me wrong— 
this band is washed up and this record is a safe 
pass, unless you've been enjoying their output 
of the last twenty years. I'm just saying that by 
the standards of the genre, this is slightly better 
than average. (JM) 
(Riot Style/Greedy) 

DWARVES / RIPTIDES - "Stillborn In The 
U.S.A." EP 

Well, now I'm depressed. The DWARVES 
side is totally in line with the recent, overblown 
version of the band: canned billion-dollar sound, 
weird stoned electro interludes, zero passion. 
The RIPTIDES do the same sort of thing, only 
shittier. Unfortunately for them, you can't 
pretend this split doesn't exist while playing 
one of their previous classics, cuz (gulp) they 
don't fucking have any. Terrible! (MC) 
(Asian Man) 

EYESORE - "Love the Old, Learn the New" 

This is some rocking '80s style hardcore 
that draws equally from GAUZE and SSD. 
The tempos range from moderate to blazing, 
with some great breaks, amazing guitar leads 
and vocals that remind me of Ernesto from 
LIFE'S HALT. I'm not really sure why all the 
album art revolves around vintage porn ads, 
and I'm not sure I want to ask, but this is up 
and CAREER SUICIDE in terms of quality 
"80s-style HC stuff. Very recommended. (AU) 
(Crew For Life) 

FACE REALITY - "Generation RX" EP 

Quality meat-and-potatoes youth crew out 
of Detroit. Nothing totally original or mind 
blowing, but they do the style well, with enough 
of their own riffage and song ideas to keep 
things from getting too formulaic .(in a genre 
well known for this trait). This record comes 
off as being made by real people and not youth 

crew cartoon characters and/or celebrities. 
Gruff vocals spit out contemplative, uplifting, 
and intelligent lyrics that take on topics such 
as the Sisyphean futility of seeking quick fixes, 
prejudice, and the pride that comes from living 
somewhere that's far from perfect, but that you 
know is your home. Given that this record was 
recorded almost two years ago at this point, 
I imagine that this band is even better now, 
and the energy on this record makes me think 
they're great live. (DG) 

FACE UP TO IT! - "Le Meilleur D'Entre 
Nous" EP 

I didn't realize this French four piece was 
coming so hard with sXe-style fast hardcore, 
blazing through the verses and providing a 
mid-tempo chant-along chorus. The songs are 
tight and catchy enough— the band's experience 
shows in this regard. Most of the songs are in 
English, covering typical topics but done pretty 
well. Seven songs, all under 90 seconds. (JM) 


What we have here is a mediocre, worldly, 
politically charged split EP. THE FIGHT is a 
female-fronted melodic hardcore band from 
Poland and honestly, save a few solid guitar 
leads, nothing about their side of this record 
really grabbed me. They would've been a good 
opener for SPITBOY, which should give you a 
clue as to what they sound like. REPRESION is 
from Spain and play fast hardcore that sounds 
like a mixture of LOS CRUDOS and RUIDOSA 
INMUNDICIA. It's pretty standard stuff; lyrics 
in Spanish dealing with animal liberation, the 
Spanish Civil War, and the ills of drag use; 
fairly generic riffs, but luckily the vocals are 
impassioned and memorable. I suppose the 
word "juvenile" sums up this record, but I'm a 
bit interested to see where REPRESION goes 
from here. (KM) 

(In My Heart Empire 7 Music Hole / La 
Humanidad Es La Plaga / Nikt Nic Nie Wie) 

FRENZY - "Noizey Trouble" EP 

Not a good record to kick off my record 
reviews with this month, as it made it very 
hard to listen to anything else after. If I could 
mainline this band, I would— they're that good! 
Take all the best from the younger generation 
of Portland punk, put them in a band with a 
recent Minneapolis transplant who has helped 
keep that Midwestern city relevant, and you get 
a total FRENZY. This is noisy hardcore punk 
that is not like anything else out there right 
now. Take some UK82 (think DISORDER), 
a liberal amount of Japanese '80s noise punk 
(think GAI), the best of Boston hardcore, and a 
sprinkle of some Egg Mangle, then mix it with 
a noisy GAGIZE complete with phaser pedal 
perfection, and you get the meta version of new 

wave of raw -punk. Fuck what bands these guys 
have been, in, this is original and rippin'. Get 
this now, play loud, and get deaf. (AE) 
(Distort Reality) 


Chaotic and attention deprived guitar 
driven noise rock. Heavy JESUS LIZARD 
styled dirges (and yowls) are punctuated with 
atonal bursts of guitar torture, and the resulting 
cacophony is either mesmerizing or perplexing. 
Heavier, dirtier but less engaging than current 
pleasure dealers like KIM PHUC, WALLS or 
have their moments (the epic "Stacking The 
Deck" is a legit creamer) and I feel like under 
the right circumstances this record would be 
perfect. Dive in... (WN) 
(Terra Firma) 

GG KING - "Joyless Masturbation/Bag" 

This is the new single from ex-CARBONAS 
frontguy, Greg King, and his latest outfit, GG 
KING. I've heard the name floating around for a 
bit, but this is my first introduction and it's a bit 
of a mixed bag. The deliciously-titled A side is a 
mid-paced pop song consisting of one endlessly 
repetitive guitar riff and a meandering bassline 
that basically plays out as one big, drawn-out 
chorus. A bit too repetitive for my taste, but I 
have no doubt that fans of Goner Recs and the 
southern punk/garage thing will go ape for it. 
The B-Side goes back to the basics with a faster 
punk number reminiscent of the CARBONAS 
or the CROWD. If that sounds like your bag, 
then by all means check it out. (JH) 
(Total Punk) 

G. GREEN - "Funny Insurance/Sounds 

Perfectly sloppy * poppy punk rock 
juxtaposed well with pleasing melody. This duo 
has a wonderfully crisp tone and an effortlessly 
beautiful lo-fi recording quality. "Sounds 
Famous" sounds, well, just that. This is a great 
track with an almost anthemic feel. (GG) 

THE GHOSTWOOD - "Development" CD 

No Idea records and PROPAGHANDI 
worship; songs about getting fucked up, good 
sing-along choruses, horrible looking POGUES- 
like hand drawn logo, would probably be one 
of the first bands to play a day show at the Fest. 
(One Eye) 

GIVE - "Flower Head/Kiss the Flame" 

GIVE is the ultimate "hit or miss" band 
for me— when they're good, they're great, but 
when they're bad. . .it hurts. This one hurts. The 
GIVE sound is very rooted in the SWIZ camp 
of the rawkin' late- '80s DC sound, but here 
on "Flower Head," they take it to an almost 


funk rock level that I just can't hang with for even a full 
song and I've tried several times now. See the singles on 
Painkiller and Deranged for this band at their best. (JU) 

GLASS HITS - "Pioneers Get the Arrows, Settlers Get 
the Land" LP 

There is so much love for the '90s going around and 
these folks are just swimming in it. The album starts out 
with a great, short tune that is very much in the vein of 
UOA or SHOTMAKER but with a vocalist who sounds 
something like a mix between Rick Fork and Chris 
Thompson. As the record continues, the songs get more 
of a rock feel and tend to sound more like a mix of any 
number of bands fronted by the two aforementioned 
vocalists. Is it totally derivative? Yeah, but if you like HOT 
SNAKES and CIRCUS LUPUS, these guys do it pretty 
well. (PA) 

THE GOLDEN BOYS - "Dirty Fingernails" LP 

Americana inspired garage rock from that hotbed of 
distorted retro loving r'n'r Austin, Texas. It's got that 
country undercurrent whilst keeping true to its sixties 
rhythm and blues influences. I'm thinking '69 era 
The song writing is top notch, the instrumentation bang on 
and the production perfect for this genre. This almost has 
a more aged REIGNING SOUND vibe whilst throwing 
in a nifty hint of psyche rock when least expected. I need 
a copy of this pronto. Do I see a Mr. JOHN WESLEY 
COLEMAN on the inner sleeve? 'Nuff said. (SD) 

GOURIDE - "Oil is the Reason" LP 

An interesting final swan song from 1 a band comprised 
of Chinese Nationals and Canadian ex-pats from Kunming, 
China from the last decade, GOURIDE— a Chinese 
derogatory term meaning something akin to motherfucker 
or Son a of a fucking bitch (and a term regretfully, as 
admitted— but not intended— by the band themselves, that 
has Anti-Japanese overtones within China) The band's 
eleven tracks here balance that scale with current very 
serious lyrics, sung in Chinese, but translated into English 
about the current world and local political situation— with 
messages about the situation in the Congo, Dubai, a pro- 
vegetarian message, questioning the wealth inequality in 
China, along with global weapons merchants. The music 
has the interesting edge of coming from a refreshing 
viewpoint that's not completely self-referential to punk 
within itself, there's a lot of prog-rock and metallic guitar 
wanking similar to say, G-ZET, EXECUTE or other 
protean early '80s Japanese combinations of metal with 
punk, where the rock trappings and wanky solos collide 
head on with UK82. There's no blister of straight up 
hardcore, more of a constant simmering fast one-two basic 
tempos as vocals scream over top and thinned out guitars 
slither and slide along. The packaging is similar to black 
and white cut'n'paste gluestick glory of GISM or CROW 
records with skeletal face soldiers hanging from nooses 
with the symbol of the Yuan on their uniforms, cops, 
Chinese lions, guns and skulls with the text hand scrawled 
in Chinese. The included stickers feature anti-UN images, 
urge Canada out of Afghanistan and questioning the 

genocidal nature of the origins of Canada. More than just 
an oddity or a political treatise however, this is pretty 
rocking, listenable and wonderfully unpredictable record 
on its own path. Limited to 500, Get this! (KS) 
(self-released) , 

GREAT CYNICS - "In the Valley" EP 

Musically, GREAT CYINICS sound more like a pop 
band than a punk band but they fall into a growing group of 
pop-punk bands that have an indie rock influence without 
sounding like an indie rock band. Blame AGAINST ME, 
or thank them if you lean that way. Catchy, clean guitar 
parts play mid-tempo songs with somewhat gruff, sung 
vocals. If your record collection is full of stuff on labels 
like No Idea, Don Giovanni and Salinas then this would be 
worth checking out. (PA) 
(Kind of Like) 

GROWN-UPS - "Spare Time" EP 

What if JAY REATARD's backing band were Canadian 
pop punk kids? This is the EP they would make after they 
were done recording all those singles for Matador. It's got 
a garage style to the recording, but with enough melodies 
to make it poppy. But still dirty and raw like a recording 
you expect from Goner Records. It's kind of emotionally 
blanked faced, sort of like your listening to the songs in 
black and white. But when they lay off the herky-jerky 
parts, man, those hooks will get ya. (FS) 
(Mammoth Cave) 

GUITAR GANGSTERS - "The Class Of '76" CD ■ 

This British band has been doing it since the late '80s. 
Out of the scene that brought us MEGA CITY FOUR 
and the SENSELESS THINGS, this band actually came 
to town recently with PETER AND THE TEST TUBE 
BABIES for a great sold out show. This is their ninth 
studio album. Good tuneful rock'n'roll punk that still 
sounds fresh. Formerly a Captain Oi band, these guys are 
now on a German label. This trio needs to make it over 
here more often. Good band, good guys, and a good album 
here. (RL) 
(Ril Rec) 

HAUTE COUTURE - "Max's Rooms" EP 

A bizarre collision of sounds courtesy of France's most 
consistently awesome hardcore label. Shogun has been 
cranking out nothing but magic for the last couple of years 
(lots of magic), and HAUTE COUTURE is no exception: 
TOTALITAR fury with shadowy vocals and garage guitars 
all pushed to the absolute limit of whatever lo-fi device 
they recorded the whole mess on. Raw and insistent, 
with a recording that captures what I can imagine is their 
live power (the surface noise helps in this department) 
and a visceral, personal and pointed lyrical assault seals 
the deal. A perfect record for those sad punks that waste 
their lives lamenting bygone punk generations— HAUTE 
COUTURE will kick the "good hardcore was over in '85" 
set right in the dick. (WN) 

HONOR CODE - "Got Me By the Balls" EP 

Fast thrash with pretty retarded teenage lyrics written by 
grown men. Their singer's got an annoying high-pitched 
voice. The songs are fast and get your blood pumping but 

\ F#' 

/ ^^0 m 

- GREAT _,_ 
i^T- GmiCS -Saws' 




follow an all too standard hardcore formula. 
Somebody wake me up. (RO) 

HUNTING PARTY - "Sub Rosa With 
Whispered Pacts" EP 

Building on its members' experience in some 
of the best Bay Area hardcore acts of the past few 
YADOKAI, to name only a few— HUNTING 
PARTY play dark, menacing USHC that harkens 
back to a time when loyalty to hardcore meant 
more than a willingness to adhere to some played- 
out formula. This attitude comes to a head on the 
second half of "Straight Shooter," where drums 
and vocals cut out leaving nothing but feedback 
and a single, pulsing guitar riff before everyone 
comes back in for a final two-second burst of 
rage... fucking brilliant. With molasses-thick 
guitar tone and a fittingly gritty vocal delivery, 
this records simply exudes toughness (though 
not machismo) without relying on generic 
breakdowns or having to waste time telling you 
about it. (WB) 
(Hesitation Wound) 

O INIMIGO - "Imaginario Absolute" CD 

That this is on CD and could fairly and 
accurately get described as "emo" in some 
capacity would usually be two near-instant 
dealbreakers, but this is actually quite good. It 
does get too WEAKERTHANS and '90s emo 
for me at times, and I could certainly do with out 
the horns and piano on certain songs, but at their 
best, they channel a mid-paced, modernized 
RITES OF SPRING feeling with some slight 
HUSKER DU desperation, and DINOSAUR 
JR disengagement and guitar prowess. The bass 
is busy, the guitar is always doing something 
interesting and unexpected, and the vocals 
are emotive and convicted without being 
sappy. The recording is the perfect medium 
between shoddy and slick. If more bands doing 
something similar took a look at how this band 
is doing it right, maybe they wouldn't suck so 
much. (DG) i 

(Seven Eight Life) 


Eleven songs of sludgy druggy psychedelic 
garage punk from Nice, France. Well there's 
nothing nice about these guys from the way they 
sound. They've got one hell of a great mean 
wah-wah-pedal-full-of-downers guitar sound. 
At their best they remind me of LUBRICATED 
GOAT which is a big complement. Some of the 
guitar solos are a little boring and I wish they 
would get a little more "out there," but they're 
from France so what do you expect. CDs blow 
but this is great. (RO) 


Cool mid-tempo hardcore punk from 

Finland. The vocals are sung in a lower register, 
which makes 'em kinda ugly and gravelly, 
but this does not detract from their urgency 
or effectiveness. Watch out for the occasional 
saxophone solo! No, actually the sax is in 
good taste— I applaud any such risk-taking 
in hardcore these days. The whole LP is sung 
in Finnish, but the English translations offer 
thought provoking and eco-conscious ideas. 
This is a great punk record with some melody, 
some scattered darkness throughout, and a lotta 
heart. I recommend checking this out— as well 
as some other essential Finnish reissue gems I 
saw in the review box this month! (MA) 
(Paha Tukka Elama) 

XKATEXMOSHX - "Old Fascists Suck 
Twice" EP 

Italian adults blasting through fourteen 
fastcore/powerviolence jams with razor sharp 
precision. A slightly more metallic version of 
the SPAZZ/NO COMMENT mold, but fans 
of the genre will eat this shit up. Mosh parts, 
blistering blasts, slightly corny mid-paced 
metal rifling, raspy throaty vokills. Get amongst 
it. (WN) 

(Bad Feeling / Blackfire / CO PS A. / Dickhead 
/ Dogs From Hell / EATSHITBUYDIE / Here 
And Now! / Lack / Obdura / Rebound Action / 
Rome Burns Again) 

KICKS - "The Secret/Return of the Action 

Post YOUNG IDENTITIES re-ish of the 
1981 EP from Brisbane, Australia goth post- 
punk band KICKS that disbanded in 1985. Equal 
parts JOY DIVISION and BAUHAUS. Yeah, 
this dude sounds like PETER MURPHY— if 
you play his voice backwards. The "Secret" is 
a legitimate taffy-pulling or hands behind the 
back walking-down-the stairs-backwards dance 
jam. Cool classic that sends the new wave of 
dark wave post punk sweeping over us to 
school. Get this shit. (MB) 

LA CORDE - "Unmarked Doors/Virus" 

In my review of LA CORDE's split with 
CAT PARTY I complimented their assertion 
of TESTORS-informed testosterone over fairly 
straight ahead punk, and the style of this latest 
45 is not divergent from their earlier output in 
that regard. It is different in the sense that this 45 
finds them in firmer command of their tones and 
production. Vocals rest atop leads atop rhythm 
guitar and overdubs, iill compressed and mixed 
with class. Of course, all discussion of recording 
and production is absolutely trite blubbering 
once LA CORDE's song-writing is shown for its 
emphatic effectiveness. If I had known about this 
band while I still lived in Southern California, I 
might have stayed a month longer. (SL) 

LATCH KEY KIDS - "Democracy" CDEP 

Would it surprise you that a band named 
after a BAD RELIGION song sounds like 
BAD RELIGION? I like it more when a band 
named after another band's song sound nothing 
like that band. Actually this Texas band has 
apparently been around since 1993. 1 must have 
missed them in the sea of similar sounding 
bands. Mix in a little PENNYWISE and NO 
USE FOR A NAME too. Only four songs here 
that are decent, but nothing overwhelming for 
2012. (RL) 

LILLINGTONS - "The Backchannel 
Broadcast" CD 

Damn this sounds good! A reissue of their 
Lookout release from 2001. Slightly different 
artwork and the same tracks as that release. 
This was this band's third full length and boy 
could they do the RAMONES thing. The singer 
case you didn't know. Highly recommended 
for you pop punkers as well as their "Killed By 
Television" LP. (RL) ■ 
(Red Scare) 


A compilation of an early '80s New Orleans 
band (self-described as "powerful pop"), and it's 
a real "corker." Every song has a perfect hook, 
there's a decent amount of pervious record 
tracks and yeah, some live tunes too, but they're 
well recorded and even come with a radio 
commercial for the show complete with some 
golden-throated DJ rattling off the gig info. If 
you're sick of your meathead friends making 
fun of you for listening to power pop (not that 
they don't have a point), play 'em "Modern 
Girl" -it makes NEGATIVE APPROACH 
sound like GLASS CANDY. Alright so I made 
that up, but this is seriously excellent. I heard 
someone complaining the other day about the 
current reissuse renaissance going on right now, 
which just goes to show people will bitch about 
anything. If stuff like this keeps floating out of 
moneyed collectors collections into mine I'll be 
happy. (BB) 
(Cheap Rewards) 

LOUDER - "Get Out/Dud" 

It's rock, its punk, it's slightly new wave and 
a bit on the garage side. . . Only our brothers and 
sisters from the land of the rising sun could mix 
up the unmixable and pull it off. Sometimes I'm 
thinking the TYRADES at others MACHINE 
GUN ETIQUETTE then I swing all the way 
to GRAND FUNK, this record is making me 
dizzy. I swear on my goldfish's grave that it 
works. Side one is for the short hair stripe shirts, 
side two for the long hairs and biker jackets. 
(Episode Sounds) 


LOVE HANDLES - "Handled" EP 

Psych pop that comports itself through a promethazine 
dream by way of sounding like it was mixed in-the-red 
through a flanger and chorus pedal. The way the mix, or 
production was done makes the individual sounds blur 
and lump together in a way that seems detrimental to the 
overall sound. The four songs on this record are slow to 
mid paced psych pop songs that also at times seem to have 
some folk influence. It's clear that these guys know how 
to write a catchy song because "Gold Chain," beneath the 
haze of the production, still comes through as being really 
catchy. (P$) 
(West Palm Beotch) 


Both bands hail from Tokyo and bring some very 
different tunes on either side. MAD MANIAX play a 
hybrid of ' 80s Japanese punk and USHC from the same era . 
Imagine Ian McKay singing in Japanese. It's hints of the 
STALIN meets DC HC. It's weird because this has definite 
sounds that span the history of US hardcore and it's various 
incarnations, but the initial aforementioned influences are 
loud and clear. There is a second on a song on here when 
the guitar and drums drop out and you hear this muddy 
bass we are used to hearing in Japanese noize these days, 
but it fucking works! Good stuff! MARUBULLMEN is 
crossover BC Rich tones thrashing away in a metallic 
frenzy while the drums are straight ahead D-beat-ish 
at mid tempo. There are drum some fills here and there 
before launching into some grindy/powerviolence blasts. 
There are some mad solos on here and chorus chants. The 
vocals are throaty and high yet guttural. This is ex-TOM 
AND BOOT BOYS, but it's hellsa metallic... I prefer 
MAD MANIAX sound, but both sides are good! (MB) 
(Fine Tuning) 

Continues" 2xLP 

I absolutely loved this band when I was a teenager; 
I haven't listened to them in years, but I still know the 
10" off by heart, and it totally holds up, unlike a lot of 
rotten 'core I listened to back in the early '90s. MLB 
played politically charged straightedge, bringing Marx 
to the mosh; insert that fake Emma Goldman quote about 
revolutions and dancing here. This era of SXE was much 
more radical politically/goofily heartfelt than things seem 
nowadays in the edgeworld. The early '90s, it was the best 
of times, it was the worst of times... And it's true that alot 
of that nonsense was probably not always in a meaningful 
way, a lot of people were just following a trend with their 
End Racism longsleeves and PETA flyers. At any rate* 
back to the matter at hand! This is a pretty insane package, 
two LPs, a full color poster and an elaborate huge format 
full color booklet. Such a difference from the expensively 
priced JOHN HENRY WEST reissue LP, which seemed 
thrown together with just a CD booklet thrown in, in 
contrast this is sorta insane! The images are all taken 
from worldwide protests, from now, from last year! No 
historic artifacts here, from #Occupy to the Arab Spring, 
recontextualizing the politically charged SXE hardcore of 
their youth to what is happening now as people get radical 
in these end-times-capitalist moments. This contains 
the band's complete discography, including some new 
recordings, which don't (for me at least) quite match up to 

the older stuff, but that might be my teenage self having a 
Proustian memory of walking to school listening to a tape 
of this for months when it came out. (LG) 
(Crucial Response) 

MEINHOF- "Mother" LP 

. This is a self-proclaimed anarcho-punk band out of 
London. You might be thinking you're getting some 
dirtball CONFLICT or 01 POLLOI style shit here, but 
you'd me wrong. These guys play more D-beat crusty 
but melodic shit that in a way reminds me of MISERY 
or TRAGEDY, and would be right at home on Profane 
Existence. It's nice" and heavy, nice and crusty, but has a 
unique enough style that you couldn't call it a clone or 
worship band. (BD) 
(Nikt Nic Nie Wie) 


Just because WEEZER exists doesn't mean every nerd 
in the world gets to start a pop band. If we're to measure 
MIKE BELL AND THE MOVIES by pop-punk standards, 
they've succeeded in creating that whole "never ever going 
to get laid" vibe, which is an extremely integral part of 
the genre. But if we're to judge this, ya know, like normal 
people, then this is just your standard terrible, annoying 
bullshit record. In fact, listening to this has turned my 
testicles into mini-quiche hors d'oeuvres. All three of 'em! 
(SelfAware/R.S.M. Ltd.) 


If this was back in the ol' vinyl days, this Canadian 
offering would be a mini-LP. seven tracks, twenty 
something minutes. It does a sport a 1920s : esque hand- 
drawn cover of what I'm guessing are a hobo couple 
imbibing alcoholic fluids. Musically, it's definitely in the 
indie-rock territory. Undistorted guitars, though there's 
definitely some gravel in with the angst. Not quite the 
ARCTIC MONKEYS, but not so far away either. Being 
Canada, of course, the CD sleeve bears the moniker "This 
project is supported by funding from the PEI Department 
Of Tourism And Culture through Music PEI under its 
Export Development Music Program". Meaning the 
Canadian taxpayers are defraying the costs of shovelling 
this cultural imperialism onto us! (RK) • 
(Bird Law) 

MOPO MOGO - "Allein" LP 

Where do I start with this? I remember within collector 
circles this EP was talked about as being one of the rarer 
French EPs. This is a reissue, and then some. When 
listening to this I envision a lonely punk, his drum machine 
and a bag of speed going crazy cuz there is no one around 
to play in a band with. OK, so Lam making shit up but 
I don't know what the liner notes say and I am creating 
my own story as I listen to this. It is electro punk wave 
done really well that has finally come around to being 
appreciated by "da punx" If it sounds like you may be into 
this definitely pick this one up because it is good! ! ! ! ! (MS) 


Brutal, sideways-visor-cap karate mosh from Helsinki, 



Finland featuring two female vocalists. This CD 
is basically just one never-ending breakdown. 
So boring it (almost) makes me wish I was 
listening to HATEBREED. (JH) 


It would appear that the husky lady swagger 
of RED SCARE and LEGAL WEAPON were at 
some point exported to Sweden and assimilated 
intp this band's vocabulary, and I couldn't be 
more pleased. Along with an impeccable rock 
'n' roll sneer, there brief spurts of squirrely 
guitar leads and a pop sensibility that casually 
shines through. Put MORALENS VAKTARE 
in line with VANNA INGET and TERRIBLE 
FEELINGS as far as Swedish bands that need 
to tour the States immediately. (SL) 
(Dead Beat) 

NEGATIVE DEGREE - "Service Industry" 

Seven-song rapid fire punk-HC from this 
Colorado band. Sounds that go the route of 
clean guitars, which highlight the song writing 
so it does not get lost under fuzz and distortion. 
Nice release, my only complaint is that you 
fuckers did not send a review copy, hahaha I'll 
buy one. (MS) 

NERD TABLE - "Chasing the Bronco" CD 

The meanest thing I ever did to a touring band 
was tell them they had a show, gave them a fake 
address and turned off my phone the day of the 
show. But wait! They totally deserved it!!! So 
when one of my old bands was on tour, we played 
with a local band that filled the between song 
banter with hatful misogynistic and homophobic' 
comments. You know to get the audience all 
charged up right?!? The best of which was 
when (over the microphone) they called us "San 
Francisco Fags," called my friend Michelle a 
"Bitch" and told her to "Shave her tits." And 
no sooner did we get back from tour; the singer 
called my phone and asked if I could book them 
a show in San Francisco. I of coarse said yes, and 
gave him a fake address on Broadway Street in 
North Beach. The night of the show I sat around 
a bar with a few of my friends and laughed about 
the sweet revenge that was taking place. But if 
it were NERD TABLE, I'd probably be waiting 
across the street with pee-filled water balloons. 
Seriously, these guys are total turds! Not one, 
but two songs about raping Terri Schiavo (the 
brain damaged woman in a vegetative state, that 
sparked the right to die debate)!!!! Ha, yeah, for 
you guys I'd go the extra mile and make sure you 
didn't have a show and were covered in my pee. 
(FS) • 

NEUTRON RATS - "Feral Dogs" EP 

Rippin' pogo heaven D-Beat from these 

upstate New York raw punkers. The solos are 
fast, sick and Scandi. I think these boys love 
FRAMTID— a lot. The drums on this are crisp 
resulting in total D-beat devastation. This is 
some real deal punk— not some clone of a 
clone. NEUTRON RATS put four solid tracks 
on this EP which will cause many bleeding ears 
and a total listening frenzy experience for all 
whose hearts are full of love for the new age of 
raw punk! (AE) 
(Loud Punk) 

NIGHTBRINGER - "Fight Like Hell" EP 

On this little record, NIGHTBRINGER 
(not to be confused with the metal band from 
Colorado) offer up one original song from 
their forthcoming LP and a few covers on the 
flipside. The original is a full tilt hardcore rager 
with red-faced, screaming vocals that remind 
me of a herd of cattle trampling over a village 
of poor, hapless idiots. Side two tosses out a 
few covers in the same style as they take on 
DUKES. No slow, all go! (GH) 

NOEM- "Panzer" LP 

NOEM play an odd amalgamation of 
post-hardcore with the tones of MELVINS 
and a presudo-Albini production style that 
boasts potential but ultimately falls flat. After 
investigating the stark album art with its great 
minimal design and typeface, one would expect 
something a little more damaged or esoteric, 
but the music enters burly and redundant. A 
few parts recall mid-period BLACK FLAG, but 
not quite with enough conviction for me to peg 
them as hardcore. The vocals seem at odds with 
the music. Groans, rock V roll yelps finishing 
phrases and hoarsely spoken moments all 
awkwardly stumble over the tightly executed, 
tough tones. NOEM appears to be a band 
fraught with distracting contradictions. (SL) 
(This Charming Man) 


San Francisco, 1977: Armed with a farfisa 
organ, a drum kit, and a ball-peen hammer, an 
experimental punk duo called ON THE RAG 
stormed from the basement of 992 Valencia Street 
with the motto, "No Boys on Guitars!" United in 
their frustration with the male-dominated punk 
scene, accomplished drummer Tony Hotel and 
cabaret performer Esmerelda combined their 
talents to create the stripped-down, provocative 
punk ferocity that was, NOH MERCY. In 1979, 
they recorded ten traces with TUXEDOMOON 
video artist Tommy "Tadlock in that same 
basement, eight of which went unreleased 
until now. Thanks to San Francisco's very own 
Superior Viaduct, this album is a veritable time 
capsule, a shimmering context of lady rebellion 
in the San Francisco art punk scene. Beautifully 
packaged with photos, lyrics, and notes from 

Tony Hotel, Esmerelda, and V. Vale of Search & 
Destroy, the CD version contains four additional 
live tracks not available on vinyl. So nice to see 
these women finally getting the respect they 
deserve! (FF) 
(Superior Viaduct) 


My favorite anecdote in this LP's liner notes 
recalls that when the label guy from Johanna 
records showed up to see NOLLA NOLLA 
NOLLA play he said they smiled too much. So 
the band released their EP themselves instead. 
Johanna would later become Beta records, the 
label that originally released this LP in 1984. The 
band broke up in 1982, but reformed for a show 
and was then asked to record this album. The 
music is catchy, poppy post-punk. It is stripped 
down and full of attitude. That attitude may be 
an assumption by me since all the songs except 
for the cover of "Smile" are sung in Finnish. For 
all I know the lyrics could be really lame. They 
do sound cool though even if the album cover 
makes them look like a '80s college rock band. 
Band member Jore Vastelin would later form 
MUSTA PARAATI. Great stuff. (CK) 

NOOSE - "The War Of All Against All" EP 

NOOSE are some really pissed off vegan 
straight edge dudes from Chicago. There are 
some seriously mean sounding riffs on this 
thing, especially the intro on side A. The song 
"Regulate" is a straight up ignorant straight edge 
anthem. "Don't smoke around me, don't make 
that mistake / If you keep it up, I will regulate." 
Those lyrics are sick. I liked their demo better 
than this EP, but this is still a cool record and 
makes me regret breaking edge in '03 / hitting up 
T Bell (TM) 

NO POWER - "Distort" EP 

Man, this record sounds weird, the guitar kind 
of shows up and then goes away for a while, 
the vocals are all washed-out with reverb, the 
bass. . .well the bass sound kind of rules actually. 
It's a very off-putting sound, and that's not 
necessarily a bad thing. It certainly made me 
listen closer than I normally would to yet another 
hardcore band with black and white graphics 
and reverbed vocals, as did the odd WIRE-ish 
break parts. At any rate, this is not your run of 
the mill crusty shit, that's for sure. It definitely 
has its comfortingly familiar moments, but it's 
all smeary and hard to pin down. PERDITION 
meets MERCHANDISE? I'd liken it to some 
of the more recent Youth Attack releases, but it 
seems more sincere than that stuff. I've listened 
to 1 this twice, and I feel like I need to listen to 
it a bunch more times before I can even really 
form a proper opinion of it. If that's not a 
recommendation, I don't know what is. (AU) 

NO POWER - "No Axis" EP 

This band is similar to recent bands like MORPHEME 
and DESTINO FINAL. They blatantly took their cues 
from great, noisy, feedback drenched Japanese bands of 
the 1980s. These North Carolinians weren't born with 
studs stuck in their still mushy skulls at birth— one can 
definitely hear a hardcore undertone. I'll leave you with 
some eloquent words to live by a.k.a. NO POWER lyrics, 
"Not punk. Not real. You're not fucking welcome." Oh, 
and if you're an American band— keep fucking kanji off 
your records— for real. That being said, it was an honor to 
review this record— a must get 7". (AE) 
(Self Aware / Inkblot) 

THE NORMALS - "Vacation To Nowhere" CD+DVD 

The NORMALS' only 7" is one of my favorite records. 
I bought the CD Your Punk Heritage 1977-1984 when it 
came out in 1997. 1 couldn't stop listening to it. I bought 
this unreleased 1979 album on vinyl when it came out last 
year and listed it as one of my year-end favorite records. I 
love this band. I can't get enough. As I am sure more than 
a few people before me have said, it makes no sense to me 
that the NORMALS aren't listed in the history books as 
one of the biggest punk bands ever. Of course I know all 
the reasons why they aren't, but they should have been. 
This album is so catchy. It is full of great songwriting, 
playing and -singing. They sound like English Mods, but 
without the self-consciousness. I just can't say enough 
good things about it. You need to hear it. In addition to the 
full album, this CD also includes both songs from the 1978 
7". However the selling point of the CD version of this 
great album is that it comes with an equally great DVD 
of the band performing live at The New Place in the New 
Orleans suburb of Metairie on April 26, 1980. The liner 
notes point out that the footage was found at a garage sale. 
Really? How did that happen? But I am really glad it was. 
The footage is above average for what I assume is a VHS 
copy. It starts off a bit oddly with extended static shots 
of bass player Steve Walters, but once the cameraperson 
either figures out how to use the thing or finishes her/his 
beer then the camera work improves and you really get to 
see the band in action. The sound quality is really good 
too. If I was there I bet I would be like the pogo-ing guy in 
the blue shirt at the front. Boy, can he jump. Cover art is in 
3D and glasses are included. Amazing. (CK) 
(Last Laugh) 


I'll always remember OILTANKER as a bastion of 
crusty glory in the wilderness that was my time living 
in Connecticut, a state where I was on at least one 
occasion locked in a room and forced to listen to an entire 
HATEBREED record by my so-called "friends" in the 
hardcore scene. OILTANKER more than do justice to that 
nostalgic memory here, their crushing live energy captured 
perfectly with a manic, D-beat sound that takes the raw 
appeal of bands like DOOM into the twenty-first century. 
NO TOMORROW'S side, on the other hand, failed to grab 
my attention, offering a rather unexceptional take on the 
same "Portland sound" that's launched a thousand more- 
or-less interchangeable melodic crust bands in the past 
decade. They do a competent job, no doubt, and fans of 
the style would be wise to check them out, but other than 
that there's not much to write home about. My kudos to 

everyone involved in this release for selecting a tone of 
colored vinyl that makes the whole thing look just like a 
giant turd. (WB) 
(Profane Existence) 

NOWHITERAG - "Silence is Violence" LP 

Any" minute now it's going to come to me who 
this band sounds like. Give me a minute. This Italian 
(Modena) band can be found someplace between street 
punk and raging Italian hardcore. Think mohawks, guitar 
solos, song writing and damn good political lyrics. Lots 
of anthems with sing along parts that makes me want to 
throw my first in the air. Every once in awhile they throw 
in a straight rock'n'roll guitar lick. My only complaint is 
that it's a bit slick, but not enough to get in the way of 
enjoying some damn good songs. The track "Barricades" 
caught me by surprise. A longer track that's super catchy, 
almost pop punk and reminded me a bit of FLOGGING 
MOLLY. Don't let that turn you off from the giving this 
a listen. Ah there we go, NOWHITERAG reminds me of 
the CASUALTIES. Most of the lyrics are sung in Italian 
and the nice packaging includes both Italian and English 
translations. Be ready to sing along with these anthems. 
(Maniac Attack) 


Generic hardcore skate punk. Think GOOD 
RIDDANCE but not as good, or the DESCENDENTS 
without the melody or heart. Some fifteen year olds might 
enjoy creating a circle pit to this. Admittedly, I might be 
the wrong reviewer here, as personally, I can't wait for this 
to end. At least nearly all of these songs are under a minute 
long. (GG) 

OBNOX HI - "Masonic Reducer" EP 

Killer '70s-type freak music, courtesy of the drummer 
of the Puffy Areolas (I think). Brings to mind a sort of 
IMPERIAL DOGS mixed with maybe DEBRIS and 
definitely SIMPLY SAUCER, but with a deeper voice. 
The record itself is actually great and I would otherwise 
definitely recommend discerning punk fans purchase it, 
but I absolutely hate wordplay/pun record titles so fuck 
this. (BB) 

OSK - "Wretched Existence // Bleak Future 2007- 
2010" CD 

OSK are a Canadian grindcore band who has released a 
handful of splits over the last couple years . I love their take 
on grindcore, changing speeds and sounds all the time. 
Sometimes sounding like a fastcore band and sometimes 
slowing down, playing heavy discordant sounds. They 
don't sound like the ENDLESS BLOCKADE but they 
have similar ideas. This CD is a discography CD of, I think 
everything they've released. You get their tracks from 
their splits with SCUMBELLY, ROSKOPP, WARHERO 
tracks from the Intellect and Crush Your Canadian Idols 
comps and four unreleased tracks. (MH) 
(To Live A Lie) 


*-~* ! 

I Man 




OUTLOOK - "Our Time is Now" LP 

From their first demo on, OUTLOOK has 
gotten significantly better with each release, but 
any doubt I had that they could pull off an LP 
worth of interesting and eclectic songs has been 
eradicated. This record is definitely rooted in 
modern youth crew and a bit of earnest early 
'80s style hardcore, but along with the buildups, 
breakdowns, energetic rifling, and gang vocals 
are a ton of unexpected curveballs and messing 
with the formula, including psych and post- 
hardcore interludes that are competent and 
actually add to the songs, rather than seeming 
tacked on as gimmicks. Along with the spirited 
vibe of the music, lyrics, and photos on the 
record sleeve, I also get the impression that 
this band is really striving to transcend being 
"just a band," and, as cliche as it sounds, live 
their lives to the fullest— and having this band 
be a major part of that full life— not just in 
terms of making the most of each day, but also 
challenging themselves and their surroundings, 
which in this case is rare and admirable. They 
are presently touring the US, and hopefully you 
got or will get to see them. (DG). 

OVERLOOKED - "Nothing Is Sacred" EP 

Heavy modern hardcore from Myrtle Beach, 
South Carolina. This strongly brings to mind 
the countless nondescript bands that littered the 
Virginia Beach area about ten years ago. It's a 
little difficult to pin down the East Coast beach 
vibe without having experienced it firsthand, 
but imagine a bunch of blue collar guys from 
coastal towns with little do other than crash frat 
parties, cause trouble, and play in mean NYHC- 
worshipping bands and you've got a pretty good 
idea. As for the record, well, the band is tight 
and the songs are well-executed, but there's 
very little to differentiate it from innumerable 
bands doing exactly the same thing. (JH) 
(Life To Live) 

PAINT FUMES - "Egyptian Rats" EP 

PAINT FUMES are a detent garage punk 
band from Charlotte, NC. There are fuzzy 
guitars, pounding drums, breathy vocals and, 
of course, screeching to inform the listener of 
the song's chorus. The music is noisy, but tame. 

PAPER BAGS - "Knife" EP 

The second single from these San Francisco 
punks who appropriately and thankfully wear 
actual paper bags on their heads. Four songs 
of stripped-down, Rip Off records style garage 
punk with dumb lyrics and a Neanderthal 
mentality. The last song on this EP "Met A 
Girl" is so unbelievably catchy I found myself 
immediately singing along, but then stopped 
when I realized it is about getting a venereal 
disease. Yikes. "S.Y.F.A.TB." is a tribute to 

MRR's Bruce Roehers utilizing his trademark 
"See you fucks at the bar" as the chorus. As 
with their first EP Brace's face appears on the 
sleeve too. (CK) 
(Rapid Pulse / No Front Teeth) , . 

PAPER BAGS - "Knife" EP 

If you are the type of person who doesn't 
enjoy listening to say, the DICTATORS, having 
fun and getting drunk, you might not care for 
this band. Diseased genitalia? You don't like 
songs about that? Well, I guess you probably 
wouldn't like the BRIEFS or this band very 
much. Do you only use plastic bags because 
you loathe Mother Earth? Shit, then you will 
hate this band. It sounds to me like you are a 
totally un-fun, uptight asshole that hates good 
times and takes themselves too seriously. If so, 
you'd probably do well in avoiding this band. 
(Rapid Pulse/No Front Teeth) 

PARAF- "Prekinuti Koitus: 1978-1979" LP 

This is a compilation of unreleased 
material from this first wave punk band from 
Yugoslavia/Croatia. Included on the LP are 
two early demos, a couple alternate versions 
of previously released songs, and two live 
tracks. Admittedly, I didn't know much about 
these guys prior to hearing this record, but after 
a bit of research, it seems like they were the 
pioneers of punk in Yugoslavia. Considering the 
tensions between various ethnic groups and the 
oppressive government that ruled Yugoslavia 
during PARAF's heyday, it's a small miracle 
that they could even exist as a band during 
that time. Apparently they did come under 
scrutiny for writing songs that criticized the 
police, mocked communism, and glorified 
promiscuous lifestyle choices, and thus were 
subjected to various degrees of censorship. As 
far as their music, there is (not surprisingly) a 
heavy RAMONES influence present in most of 
the songs on this record. This is mid-paced punk 
with lots of hooks that are repeated enough 
times to make each track instantly memorable. 
Sometimes it gets a bit repetitive, and I wish 
a few of the songs were twice as fast and half 
as long, but there are a couple legitimate hits 
on here. "Narodna Pjesma" and "Obijest" are 
fucking fantastic and would've been standouts 
on any volume of Killed By Death. If you're 
already a fan, this is an essential purchase, but 
if you're unfamiliar with PARAF, it's worth 
snagging this LP to hear one of the bands that 
introduced punk i music to Eastern Europe. 
(KM) , 


PEACE - "Be Here Now" EP 

Pretty cool modern youth crew-styled jams 
here. Doing nothing to push the style further, 
PEACE tastefully rides the tried and true, and 
there's nothing wrong with that. Plenty of fast 

parts with enough mid-paced power to keep the 

kids stomping. I like. (JU) 



This Brooklyn two-piece is definitely 
coming from the angle of the herky-jerky, 
noodle-y, indie-rocky, mathy camp. Throughout 
their eleven songs, they alternate between quiet, 
almost whispered meditations that explode into 
off-kilter, full-blown freak-outs that never quite 
get as completely out-of-control as I wish they 
would. Their insistent confidence as songwriters 
reminds me, vaguely of TINY HAWKS and 
HELLA, while keeping the melodies fully 
intact. Good work. (GH) 

PEOPLE - "Fairy Tale" LP 

Well, I already spilled a ton of ink about this 
record in my column this month, so here's the 
straight review: it doesn't matter if you have 
no fucking clue who the SWANKYS are, if 
you're into dirty fucking classic punk, you need 
to hear this shit. Total swaggering sleazy punk 
rock, SEX PISTOLS riffs dragged through 
'70s Shinjuku, hopped-up on speed and rotgut 
whiskey with a chaser of mushrooms to come 
down on the last track's psychedelic freak-out. 
The A-side's retelling of the "Fairy Tale" demo 
is absolutely fucking essential . The B-side's got 
some tossed-off live tracks that don't do justice 
to the glory of the demo material, but at the end 
of the day this could be a one-sided LP and it'd 
still be better than 90% of the shit that comes 
out this year. Man, you can dance to this shit. 
By the way, don't be put off by the number of 
rainbow swastikas on the sleeve. When they 
say, "Nazi is joke," they mean it. (AU) 
(Damaging Noise) 


Not a previously unheard of split by Boston 
sludge/doom titans GRIEF as the artwork 
initially led me to believe, this is in fact a 
concept EP from Chicago's PIG CHAMPION, 
exploring the five stages of grief via mostly 
forgettable metallic hardcore. Tough, thrashy, 
and fast is this band's bread-and-butter, but 
it's the punishing, claustrophobic breakdowns 
that stand out here; the EP's best song, 
"Depression," is pretty much straight doom 
metal. Can't say I'm impressed with the total 
package, though I must tip my hat to PIG 
CHAMPION for bringing as much party mosh 
as they do to Dr. Elizabeth Kubler-Ross' notion 
of the psychological process of acceptance. 

PIG CHAMPION *■ "Oppression Breeds 
Violence" CD 

Chugga chugga breakdowns into some 
brutal metallic laden crossover thrash. It sounds 


tough. I hate it when bands name themselves after another 
bands song or singer, but fuck it. This is brutal, straight- 
ahead, fast and mean with some chorus chants and throaty 
vocals. The music is not ground breaking. The drums 
aren't complicated, but blast-y. The guitars are crossover 
and squeal-y at times with a few well-done solos— the 
dude can play but he just wants to play fucking fast. The 
recording is good and these guys are good at what they 
do, but vocals are what make this band worth a listen. If 
this dude sang in some noisy Youth Attack band, his band 
would be another limited edition sold-before-seen record 
thing. Lyrics: The word "god" is used often and "bitch" 
makes its appearance a few times in unexpected but fitting 
ways. Overall these are an interesting read and they seem 
to have an informed political stance. This is not essential, 
but holy shit I bet these shows are raw. Anyone who likes 
solid thrash will enjoy this. Maybe I will see them play 
when I go back home as they are from Chicago. I see that 
they have a kickstarter to put out their next record. That's 
fucking cheesy... (MB) 


PINK TURDS IN SPACE were a totally rad anarcho- 
thrash band from Belfast who lasted from 1986-1991. 
Born from the Giros/Warzone scene, PINK TURDS IN 
SPACE tqok UK peace punk sentiment and fed it through 
a crusty, snotty Scandi-style hardcore filter. Antisociety 
has re-released their "Greatest Shits" along with their 
original split with SEDITION on, you guessed it, pink 
vinyl. Comes with a huge zine with old flyers, lyrics and 
related ephemera! Get it or regret it! (FF) 


PINS OF LIGHT is one of my favorite SF bands, 
although my sorry ass has only managed to see them live 
twice and the most recent was well over a year ago. The 
release of // seems to be my proverbial kick in the ass to 
rectify that immediately. Churning space age proto punk, 
perfectly executed and mesmerizing. '70s Detroit meets 
the first BIG BUSINESS platter— it's that fukkn good. 
Shane Baker (ex-DEAD AND GONE, current ALARIC) 
leads this quartet, and his raspy shouts manifest as an 
angelic mist that rests on top of dirty, driving sounds. "No 
Way Home" is a mournful sounding meandering burner 
and easily the standout track on the record ("Everyone's 
minds are melting fast/hurry up the future is the past") and 
"Empire," guitars near the end are so smooth, so effortless, 
and nothing short of mesmerizing. "Sound & Pressure" 
is a brilliant exercise in psychedelia, falling squarely 
in between the worlds of HAWKWIND and SLEEP - 
entrancing and not even remotely self indulgent... and a 
perfect way to establish their presence on virtually every 
side of the fence. I was excited when I saw this in my 
review pile, but I had no idea it was going to be this damn 
good - as essential for LOST GOAT fans as it is for the 
INEPSY set. Favorite record of the month, hands down. 
(Alternative Tentacles) 


This record alternates between lurching, tectonic 
AmRep power-sludge, and kinetic, direct, hardcore punk 

- often within the same song. Vocals are up-front and in 
your face, channeling Henry RoHins, mostly Damaged era 
but with elements of the first ROLLINS BAND LP. This is 
not a bad thing. The guitarist is a little more experimental 
with effects than on your typical hardcore record, giving 
this a slight psychedelic flair. Good stuff, hope to hear 
more.. (AM) , 
(Big Neck) 


POLINA plays emotional hardcore in a technically 
proficient yet somewhat forgettable manner. It's very 
much in the vein of early 2000s "screamo" bands that were 
trying to sound like '90s emo-hardcore bands. Following 
the forrnula: chaotic heavy part (but with a melodic 
aspect that wasn't really a part of bands like PORTRAITS 
OF PAST, etc.) followed by a long quiet part in which 
desperate sounding vocals become more desperate as the 
music becomes louder and then it's sort of chaotic again. 
This also suffers from a muddy recording in which the 
drums get buried. WELL WISHER channels BRAID and 
I mean it's pretty dead on, just not as slick sounding. It's 
done pretty well if you're all for nostalgia. (PA) 
(L'oeil du Tigre/A Mountain Far) 

POPPETS - "l+l=2/Poolside Fun at Michaels" 

Swedish duo do extremely blown out three chord 
I-Heart-You-Do-You-Heart Me? speedy pop with a 
relentless drum machine. You can't have stumbled around 
this long on earth without having heard this type of thing 
many times, but I give it to 'em: it's an upbeat, catchy 
45 and that's probably the extent of their aim. Possibly 
unmastered? Quite quiet. (JS) 

PSYCHIC FELINE - "White Walls" EP 

Following up on a promising demo, this Portland 
3-piece serves up catchy, ebullient Sarah records-style 
garage pop. Set against a bare-bones guitar jangle, the 
singer is a dead ringer for Matt Hartman of SIC ALPS and 
HENRY'S DRESS note. Good for bouncing around your 
bedroom in the morning. (FF) 

PSYCHO - "You Love Us... You Hate Us" LP 

Brutal! New Italian reissue, licensed straight from 
PSYCHO's own Ax/ction Records. Honestly besides 
seeing Ax/ction ads littered through MRR all through 
the late '80s/'90s, I never really bothered with PSYCHO 
beyond their now-legendary 1983 12" EP, an unheralded 
Boston HC killer in its own right. Listening now, I really 
fucked up!! PSYCHO rulesV. Something about that whole 
gutter shit rock aesthetic just screamed bad thrash metal to 
me, so it's kinda crazy to revisit some of these records and 
find they're well produced and really some of the handful 
of true (non-SXE) USHC records coming out in the late 
'80s, Sure, there are a few cheesy bad metal flourishes 
sprinkled all over this record, but no doubt PSYCHO's 
tongues were thoroughly planted in cheeks, just having fun 
brutalizing the fuck out of the fashion punks for another 30 
minute set before the cool scenester band could play. Not 
sure if the vinyl is supposed to be a gold record or piss 
colored. I guess that's up for you to decide. (GB) 



I have to confess, I've always had a (rather 
huge) soft spot for the REAL McKENZIES. 
Despite the lack of underwear shriek, they 
actually mix in the Celtic "influences" better 
than most (the bagpipes, a fucking godawful 
instrument, play more of a lead guitar/ 
keyboards part in the soundscape, and the 
"traditional" songs are more or less palatable), 
and consistently produce a cracking mix of 
punk rock'n'roll, overdriven melodic punk/ 
pop ditties, and pretty heartfelt rocking 
ballads. They must be getting close to double 
figures with their full lengths, and they seem 
to be more maturing vigorously with age. The 
catchy anthems are here a plenty, with a nice 
mix of pace, passion and tunes, and the couple 
of "traditional" tunes are decent enough. Top 
notch, and about a hundred times better than the 
current DROPKICK MURPHYS' output. (RK) 
(Fat Wreck Chords) 

THE RESONARS - "Long Long Thoughts" 

It's pretty mind-boggling that this record is 
one guy named Matt currently living in Arizona. 
If you've already heard this record without 
knowing that fact you most definitely just said 
"Holy shit" aloud. This has everything great 
about the PRETTY THINGS, the HOLLIES, 
or the FLAMIN* GROOVIES or anyone else 
who still made '60s music long after the heyday 
wore off and reality reared it's head once more. 
All four tracks are really dynamite, popping 
and rambling jams with just enough effects to 
coalesce the sound into a dreamy tidal wave of 
hooks. Everything is here, the dude even knows 
how to use hand claps properly so that you can 
barely tell that's what you're stomping in time 
to. Now for catching up on his other singles that 
I somehow have missed! Great stuff. (JS) 
(Trouble in Mind) 


This is some straight up Boston hardcore/ 
street punk. Think Mike McColgan-era 
DROPKICK MURPHYS with that late '90s' 
early-'OOs fast hardcore/straightedge sound, a 
la LIFE'S HALT or TEAR IT UP all being held 
up with some OXYMORON braces. There are 
tons of bands that try to do this kind of thing but 
fail , but these guys do a pretty damn good job at 
making work. Bruce Roehrs would have started 
this out with a hearty, "You fucking punks are in 
luck!" (BD) 
(Contra / Patac / Black Hole) 

ROCK THE LIGHT - "Giving Up Never 
Felt So Good" LP 

I had this long, entertaining story prepared 
about how I liked some band a long time ago 
and then they put out some radio friendly 
bullshit record that really let me down, but I 

decided it was a waste of time. I was going to 
make an analogy that tied into this record letting 
me down as well, but what's the point? If you 
like radio-friendly, proggy, semi-cock rock that 
brings to mind a bunch of bullshit like LED 
ZEPPLIN, un-ironic-yet-ironic, hipster rock 'n' 
roll and music that sounds like it was made with 
car commercials in mind, waste no time running 
out to buy this record. Enjoy your stupid, boring 
life. (GH) 

S AVAGIST - "The Feral Bailout" CD 

The intricate bird/wolf drawing on the cover 
gives away the eco-apocolyptic themes explored 
on this disc. SAVAGIST, from Athens, GA, play 
a busy, mostly mid-tempo modern metal style, 
and to their credit the" music goes well with 
their descriptions of our poisoned Earth. They 
held my attention even with five-minute songs, 
cuz their delivery is strong and intense. They 
don't mix it up too much, but the drummer gets 
a workout and the dual guitars rake you over. 
If this type of thing is your jam, this is one to 
check out. (JM) 


There aren't a lot of intercontinental 
straightedge punk bands in the world, 
especially ones with members spanning three 
countries, but that's exactly what we have 
here. SECTARIAN VIOLENCE includes three 
guys from the UK, a Swede, and Nick from the 
US' COKE BUST on vocals. The most direct 
reference point for this project is mid-late '80s 
UK favorites RIPCORD (who, of course, were 
referencing early '80s American hardcore), but 
it's also heavy on modern conventions such as 
gang vocals and brutal mosh parts, as well as 
pointed lyrics about corporate greed and the 
disastrous effects of globalization. A strong 
release. (JH) 
(Grave Mistake) 

SEX DRIVE - "Urban Predator" EP 

Direct, no nonsense hardcore from this Dutch 
outfit. Five tracks that get the fist pumping and 
vocals that have that snarl that makes for a good 
hardcore record. I bet it is even better live. (MS) 

SHANGHAI WIRES - "Black Waves" LP 

My guess is that SHANGHAI WIRES are 
from Italy (but I can't tell for sure), and they 
play a spunky, melodic, "77 style of punk rock. 
Snotty SEX PISTOLS styled vocals combined 
with more CLASH inspired chord progressions 
keep it traditional— however there are lots of 
surprising and cool ideas coming through in 
the guitars and backing vocals. The end result 
is actually pretty fresh despite the obvious 
comparisons I just made. Reoccurring lyrical 

themes throughout the record are their heavily 
polluted and military-occupied beaches and 
misunderstood youth. The whole thing is a little 
too slick sounding for me, but if you dig shit 
like the DICKIES, you'll probably dig this. 
(MA) (Pure Punk) 

SHAVED WOMEN - "Anxiety" EP 

Three songs of weird, fucked up, mid-tempo 
hardcore. First side is a straight FLIPPER, 
DRUNKS WITH GUNS style dirge while side 
B is more straight up hardcore jams. The best 
thing about this EP is the almost Ginn style 
rifling on here. There's a definite BLACK 
FLAG vibe in the riffs/arrangements but I'm 
also reminded of DEEP WOUND and Am Rep 
type shit at times. This is straight up sick, and 
probably one of the more original sounding 
records I've heard in awhile. (TM) 
(Pass Judgement) 

SHIPWRECKED - "The Last Pagans" LP 

'80s East Coast style hardcore that's kinda 
skinhead or maybe they're just going bald like 
me. I think they're from Norway and the singer 
and some songs remind me of the CRO-MAGS 
so there's a hint of metal in there. Cool cover 
drawing of some evil knight dudes roaming the 
blood soaked streets ready to kick your ass or 
hit the pub. Good record. Pick it up. (RO) 
(Crucial Response) 

THE SHONDES - "Searchlights" CD 

This New York all girl band is very '80s 
college rock sounding. This kind of reminds 
me of BELLY and 10,000 MANIACS or maybe 
today's OF MONSTERS AND MEN and 
FANFARLO. I like this for what it is although 
the genre does seem a little dated by our high 
brow punk rock standards. I would certainly 
check them out as an opener. Who knows they 
might be a soundtrack song away from being 
huge. (RL) 
(Exotic Fever) 


This is a true rarity, a record that actually lives 
up to and may even exceed the hype surrounding 
it. For the uninformed, SICKOIDS is a new 
Philly band featuring gents from WITCH HUNT 
enough, this sounds like the natural musical 
fusion of the two aforementioned bands. Most 
of the tracks are speedy thrashers akin to the 
catalog. The other songs, namely "Hope 
Subsides," "King of The Dirt Mound" and 
"Clarity" are more mid-paced and feature an 
excellent peace punk-esque aesthetic that recalls 
WITCH HUNT'S more melodic side. What 
really makes this album exceptional however 
is the musicianship. All three of these guys are 
seasoned and scary-talented in the songwriting 
department. This isn't punk by numbers with 


standard song structures and nothing but power chords. 
It's sort of all over the place a-la DIE KREUZEN, but the 
transitions don't sound forced at all. Conjuring punk that is 
fresh and engaging in this age of instant genre classification 
is no small feat. SICKOIDS have really created something 
special with this LP; definitely one of the best records I've 
heard so far this year. You need this. (KM) 

THE SKABBS - "Idle Threat" CD 

I listened to this without reading any information and 
I decided that this band was from Southern California, 
it was recorded in 1978 and Metal Mike was in the 
band. I was right except for that last part. "Who were 
the SKABBS?" you ask? Well, they were a Southern 
California proto-punk band who played simple, direct, 
infectious music with classic song titles like "Turn on 
the Vacuum," "My God Look At That" and "You Are 
The Hillside Strangler." Their sound and jokey approach 
to songwriting reminds me strongly of DEVO and 
the GIZMOS brand of harmless college punk humor. 
Fortunately for you, Jackpot Records has unearthed this 
treasure trove of never-released recordings . Unfortunately, 
the SKABBS only made it into a studio long enough to 
properly record four songs. The remaining twelve songs 
were culled from two-track, reel-to-reel practice tapes 
but sound remarkably clear for being in storage since the 
'70s. It's got the sound of desperate, young '70s punk; 
the sound of kids that were fed up with everything on the 
radio and banged out their own soundtracks in garages 
and shitty bars where no one cared about them. It's great! 
The band came to a quick halt in 1979 when one of their 
main songwriters, Steve Salazar, succumbed to a lifelong 
heart condition at the too-young age of 26. May he rest in 
peace and may you rock out to this album. (GH) 

THE SNOOKYS - "Automatic Stomp" CD 

This is a clear case of blase punk rock 'n' roll that 
hastily hijacks viable components of other -genres like 
surf, pop punk or power pop, and spews them forth 
without the least amount of originality in rehashing 
such tropes. Slick-punk with a slick, new school of 
graphic design, dual tone cover that presents the group's 
appropriately bothersome name in a tasteful typeface. 
This is punk refined, or so promoters would like you to 
think. It's more like punk marginalized, and why is there 
so much marginalized punk on CD? (SL) 
(Night Fighter) 


This is the debut record from this Orlando, FL trio. 
As the band's name suggests, they have a generally 
snotty attitude. I would usually associate such an attitude 
with faster and a more abrasive vocal style. If these 
songs were played faster and employed more of a JOEY 
VINDICTIVE vocal delivery, this shit would absolutely 
rule. I imagine MARKED MEN and any number of 
early '90s Chicago pop punk bands. Overall, this ain't 
bad (with a few cheesy lyrics aside), but there is a lot 
of potential for pure greatness here that has not yet been 
realized. (BD) 

SONGS FOR SNAKES - "Charcoal Heather" CD 

A local band new to me. This is a good indie rock/ 
melodic punk release. Very reminiscent of SUGAR and-" 
ARCHERS OF LOAF with a little J CHURCH and 
JAWBREAKER. I'm surprised these guys haven't got 
more high profile shows around here. Hopefully that will 
change with this release. A good '90s sounding band. (RL) 

SPLINTER CELL - "Will You Be My Friend" CD 

This is alternative rock with a punk rock production 
and an overwhelming hint of the '90s. It's like a STONE 
TEMPLE PILOTS bedroom demo. (SD) 
(Meth Bog) 

STAG - "Get Used To It" EP 

Holy shiiiitttt. Witch spells sung as girl group hits 
through a lens of stiff minimalism. "Goin Out" is the 
hit of the century. Psychedelic key flourishes, bedroom 
dance drums, vocals that run the gamut from bored 
drones to torch song sing alongs to shrill scream outs, 
the bass keeping it groovy. It's like the best parts of 
Seriously, blowing my mind. (MM) 

STEP ASIDE - "Reaching Out" EP 

This is some straightforward youth crew style hardcore 
from Tucson, AZ. Riffs on this thing are sick and at 
times remind me of the NO JUSTICE Still Fighting EP. 
It's really hard to pull off the youth crew style without 
sounding generic as fuck, but this 7" is a good look. The 
vocals are pretty cheesy at times, but the jams a,re solid. 
Riff at the end of "Step Aside" is ill. Cop this if youth 
crew style shit is your thing. (TM) 
(Life To Live) 

Haunted (and You're a Fucking Ghost) EP 

DC denizens bang out three-chord punk. These are some 
seriously simple tunes, bouncy and fun, but pulling too 
directly from past playbooks without being exceptionally 
memorable. The A-side is an intangibly Texan sounding 
power-pop stomper, which is admittedly not really my 
thing, but I couldn't really remember the song too well 
after it was done playing. The hooks, which they do try to 
craft, just aren't catchy enough, and if you're a straight- 
ahead, three-chord, '77 power-pop/punk band in 2012, 
you fucking better be catchy. The B-side is better (Chuck 
D was a prophet), but still the hooks aren't enough. I can 
see the beginnings of some good catchy parts, but they still 
feel too familiar. I'm sort of reminded of the WEIRDOS, 
but I'm not super familiar with that band so I could be 
wrong when I say that LOVE THE BOMB sounds like 
them. (LP) 
(Big Neck) 

TALK-SICK - "Genetics" CD 

Snotty CRUCIFUCKS vocals over a steady "one- 
two-one-two" drum beat with punk rockin' riffs. Catchy 
back-up vocals that their teenage fan base can totally sing- 
along to as they chug some cheap whiskey they just bribed 
some old loser to score them because they're too young to 
legally drink. This is total B-grade punk. These guys are 


too old to be doing this sort of music and should 
have just given up already. (AE) 

TEENANGER - "Frights" LP 

This is a cohesive serving of garage-punk 
with effectual flourishes that actually contribute 
to the songs, rather than mask their simplicity. 
It contains underlying noise that can be harsh, 
psychedelic or overwhelming, depending on 
the group's intent. The vocals vary, but most 
songs operate in the standard nasally teenage 
wail territory. The tracks in which the singer 
becomes a little more flat and enunciates 
better allow listeners to focus on the playing 
underneath, which is where the group's real 
uniqueness lies, instead of dismissing the group 
based on their common vocal style. This record 
is tight, assertive and adventurous while playing 
a style of music that is annoyingly homogenized 
and given to generic tropes. (SL) 
(Telephone Explosion) 

THETAN - "Welcome to Whine Country" 

I listened to this 7" a few times, enjoying it 
a good bit before I looked at the 7" sleeve and 
info on the band. This is a two person band? 
No way!? THETAN have two members of 
SANCTIONS who create complete hardcore 
chaos. The sound is so full, chaotic and it 
sounds like both members sing, but the liner 
notes say otherwise. This doesn't sound like just 
two people in any way. In the end it's burley 
hardcore with powerviolence leanings. This 
isn't metal in any way but the bass tone reminds 
me a lot of Wolverine Blues-era ENTOMBED 
guitar tone. (MH) 

Eye" LP 

This is a 2004 recording of a Cleveland band 
that is finally seeing the light of day on vinyl. 
bunch, with a thick post-punk/indie rock sound 
that primarily calls to mind a combination of 
It's not groundbreaking but it's good stuff, and 
it's nice that it's finally getting at least a limited 
(100!) vinyl release. Members went on to play 
in various noisy projects, the most well known 
probably being THIS MOMENT IN BLACK 
HISTORY. Worth picking up if you can find it, 
but friends and fans who were there at the time 
have probably got there first. (AM) 
(Mind/No Mind) 

TREBLINKA- "Helvettiin Ja Takaisin" LP 

Seventeen tracks from this late '80s Finnish 
band, collected from 1988's compilation 7" EP, 
theirdebut//!mwvy<fe« TahteteosT EP and three 
of the five tracks from 1989's Stop Vivisection 
- Use Yuppies compilation LP (omitting two 

of the more hard-rock songs). Adding four 
additional unreleased tracks from the recording 
sessions for the two comps, "To Hell and Back" 
is a more concise yet less comprehensive 
collection than their 25-track Muistatko...? 
CD of a few years ago that collected the entire 
recording session of each release. TREBLINKA 
are not a particularly uniquely distinctive entry 
to the canon of old Finnish hardcore, but are 
in no way are offensive as they solidly stab 
at the same sound of KAAOS Ristiinnautittu 
Kaaos— swirling, thundering moody hardcore 
with howling vocals, drenched heavily in the 
fuzzed out flange guitar effects of the late '80s. 
That distorted flanged out sound has woefully 
come back into vogue now, but still sounds 
like a cover for a deficiency in the equipment, 
recording, tone or guitar riffs themselves to me. 
This collection benefits heavily from modern 
re-mastering, which adds a different dimension 
of crispness and depth compared to the original 
recordings, making this limited to 500 LP a 
must for fans of the era and style, but maybe 
not an entry point for people unfamiliar with the 
broader pantheon that influenced it. The vocals 
are wonderfully caustic top tier like the best 
of Finnish hardcore. Printed inner sleeve with 
lyrics in Finnish. (KS) 

TROPHY WIFE - "Stella, My Star/Frankie's 

When I was a tween or whatever— like 
before "I'm sleeping at blahblahblahs house" 
became the excuse for staying out all night/ 
running away for the weekend— sleepovers 
consisted of staying up all night listening to 
cassingles, writing weird sloppy songs using 
whatever was around (pots and pans percussion, 
possibly handclaps, humming, mostly just 
a lot of screams and giggles) and of course, 
choreographing a dance to go along with it. 
This sounds like the product of that sort of 
sleepover, where the record collection includes 
and "Take My Breath Away" era BERLIN and 
possibly the CRANBERRIES. (MM) 
(Private Leisure) 

TZN XENNA- "1981-2011" EP 

That Means Xenna's first 7" since their 
classic definition of Polish hardcore, the 
Tonpress release Dzieci Z Brudnej Ulicy 7". 
This rekindles a lot of the overlying melody 
of the 1985 debut, but sheds some of its 
mechanical jack hammering hardcore nature 
by slowing the tempo slightly. New recordings 
of two classic tracks "Paranoja 81" and 
"Wodzowie" that date back to the early 1980s, 
and a new catchy, chorus driven ode to the 
mindset of a mass murderer "Kalasznikow." 
The entire release is dedicated to the original 
bassist who passed away in 1996, the original 
drummer— and most importantly (and virtually 

unchanged sounding)— the original singer from 
the 1980s are all present along with a member 
of ANTIDOTUM. "Wodzowie" ("The Chiefs") 
is a wonderfully tribally rhythmic "cold wave" 
attack a la ADAM AND THE ANTS about 
racial discrimination against Native Americans 
Clean, full sound quality and mastering, colored 
vinyl with lyric sheet and translations. Limited 
to 500 copies. (KS) 


The title track is horrible pussy pop rock. 
Not punk. The other side they try to get all 
tough and say fuck a lot and put me further to 
sleep. Avoid. (RO) 
(Meth Bog) 


This malarkey is all over the place; quirky 
punk rock that can sound like WIRE-tinged 
garage punk, BAD RELIGION, or the 
BOREDOMS. Not every song is a winner but 
they are so short and fast that by the time you've 
realized you're not particularly into one track 
a good song is generally only seconds away. 
There are 21 songs on this CD, including a 
few that I would call "instrumental interludes," 
but you could edit this down to an absolutely 
astounding ten-twelve song LP. (AM) 
(Dylan Bendall) 

UZI RASH - "Whyte Rash Time" LP 

I saw this band once in Sacramento and I 
remember having a cool time and digging their 
weird costume noise. Unfortunately my memory 
is muggy and/or this just doesn't really translate 
to record. Almost every song sounds exactly the 
same, so I guess the good news is that if you 
love the first six seconds of this record, you're 
in for a reliable ride throughout the long-player. 
And if you're generally into some vaguely 
BEEFHEARTIAN escape with the ol' cat- 
walking-down-the-piano or shriek-monotone 
vocals/carnival keys/trashcan mess— and I 
really don't mean that despairingly, I genuinely 
think many readers would enjoy that combo— I 
just didn't find a lot of depth or texture in the 
formula. Fuck, that sounds pretentious I'm 
really sorry! (JS) 
(Dead Beat) 

VIVID SEKT - "A Deception of Desire" CD 

Somebody needs to tell See See Identity that 
he is not the Dick Lucas he thinks he is, and 
I guess that person is me. VIVID SEKT have 
been churning out a tired rehash of UK peace 
punk for five years with this wailing crustlord 
at their- helm. I originally turned to VIVID 
SEKT because they share members with 
then I turned on my heels and swore never to go 
back. This collection of VIVID SEKT 7"s from 
2007-2010 is a grim reminder of why - crappy, 


boring CRISIS worship devoid of the guts and personality 

required to get it right. (FF) 


WEAK LINK - "Drop The Dime" EP 

Fuck yes— this band (from St. John's, Newfoundland) 
doesn't waste a second. Excepting the title track, they 
fuckin' hit it with fast-as-hell, straight ahead hardcore, 
throw in a brief breakdown, end it and move along to the 
next one. The recording is a little bass-heavy. I think their 
next record should destroy, but this one's pretty good. 


If you love ROCKET FROM THE CRYPT and you 
know it clap your hands! Or, just rip off their undeniable 
guitar tone and slap it all over your music at random. That's 
fine; I'm not against that. Especially when it's paired with 
the bunch of rocking 'n' rolling, wondrous three chord 
good times that this album starts with. However, you can 
leave the GROOVIE GHOULIES and any whiney self- 
deprecation and/or self-help rhetoric at the door. Please, 
thank you! This album starts strong and tapers off into 
something watery and mediocre. I suggest grabbing the 
balls you left at the beginning of this album and getting 
a feel for them again before heading back into the studio. 
Also, please stop watching the Rocky Horror Picture 
Show; I never need to hear that as in influence in any kind 
of music. (GG) 

WILD//TRIBE - "Endless Nights" CD 

Required listening for all dedicated pogo wolves. 
Fort Worth's WILD//TRIBE dish out explosive, speed- 
crazy hardcore punk that owes more than a little bit to 
the shredding glory of Japanese bands like FORWARD 
and BASTARD, forgoing any sense of pretense in favor 
of songs about what's real in life: nonconformity, getting 
wasted, and bitter disappointment. Everything is airtight 
and totally overboard, but what really takes things to 
the next level are the lightning-fast melodic bass lines... 
seriously, the dude is unreal. I can only imagine the 
debauchery and excess that this band conjures up live, but 
for now, go ahead' and put your money where your mouth 
is, break a beer bottle over your head and crank this way 
too loud. (WB) 
(Under The Surface / Punkalive / Rescued from Life) 

THE WRONG WORDS - "I Will Change Your Mind/ 
How to Keep a Straight Face" 

This is power pop done with a garage flare. Two nifty 
tracks that have that bubble gum smacking, finger clicking 
edge. It ain't nothing new but I certainly would not be 
changing the station if this popped up on the radio. It's 
got a liking for the KINKS, BIG STAR, MARVELOUS 
(Trouble In Mind) 

V/A - "Complete Aural Turmoil" EP 

Pressed for yet another awesome Japan tour that I 
didn't get to experience (sigh), this EP joins Florida's own 
MAUSER with tour mates D-CLONE and FOLKEIIS in 
a near-perfect storm of chaotic noise and crasher crust. 

MAUSER'S efforts are hit and miss, as "Silence" comes 
of a bit formulaic, but "The Storm" has a sinister BLOOD 
SPIT NIGHTS vibe that marks it as one of their best songs 
to date. D-CLONE continues their period of being able 
to do no wrong, as "Noise Life" is absolute fucking gold. 
Vicious dual vocals battle over a pounding track with one 
of their best breakdowns ever and an ever-ascending riff 
that makes me want to fucking throw shit across the room. 
FOLKEIIS have dropped the last vestiges of their Finnish 
sound for a more metallic approach that includes raging 
solos and a distinct FRAMTID influence that suits them 
very well indeed. Fortunately there were a ton of these 
pressed, so they shouldn't be too difficult to find. (AU) 
(Hardcore Survives) 

V/A - "Society Best Vol 1" LP 

An ultra-cheep label omnibus from Antisociety, a 
newer outfit focused on repressing rare and out-of- 
print recordings from classic UK anarcho-punk bands. 
Accordingly, most of the stuff here is demo and live 
versions along with the occasional studio track, including 
ZOUNDS' bid for the greatest anarcho-anthem of all 
time, "Can't Cheat Karma." Odds and sods comps like 
this all too easily play out like effort to squeeze a quick 
buck from the leftover detritus of long-defunct acts, but 
luckily we're talking about one of the more fertile periods 
in punk history, and pretty much everything here is more 
than worthwhile for fans of peace punk and early crust. 
The roster is almost a who's who of the era, including 
the ever-underrated ANTI-SYSTEM, ANTISECT, PINK 
TURDS IN SPACE (who I had shamefully never heard 
before!), DOOM, ALTERNATIVE, and VARUKERS, not 
to mention a cut from the always-cute early DISCHARGE 
demos, goofy Johnny Rotten impression and all. I was 
intrigued by super lo-fi cut from REALITY ATTACK off 
of the label's Bullsheep Detector, which appears to be a 
compilation of Welsh anarchb-bands from the first half of 
the 1980s. That sounds awesome, and this is too. (WB) 

V/A - "Go Down Records Compilation 2011" - CD 

Garage rock compilation of Italian garage rock bands 
singing in English. My favorite tracks are by DOME LA 
track that is just super straight forward rock 'n' roll in the 
vein of REIGNING SOUND. This CD is worth a listen if 
you want to see what's up with the Italian garage scene as 
of late. (AE) 
(Go Down) 

vfVfD tea 



540: ww w.chaosintejas .com/540/index .html 

13XU: 3005 S. Lamar Blvd. 0109-403, Austin TX 

Acute: x85 

The Adamseed: 

Alabaster Choad: 

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Alternative Tentacles: PO Box 419092, San 
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Anti-Corp: PO Box 190339 Nashville, TN 37219 


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Contra: Ronny Hecht Dresdener Strasse 40 04808 

Wurzen, GERMANY 
Crew For Life: 4-30-96 Akitsu, Higashimurayama- 

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Crimes Against Humanity: PO Box 142 1 , Eau 

Claire,. WI 54702, 
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Saint-Germain-En-Laye, FRANCE, dylanbendall® 

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Exotic Fever: 
Fat Wreck Chords: 
Fine Tuning!: 2-13-12 Matsubara, Setagaya-Ku, 

Tokyo 156-0043, JAPAN, www.finetuningrecords. 


Forge: 178 Walworth St., Unit 3R, Brooklyn, NY 

Fun With Smack: 872 Pleasant Street; Raynham, 

MA 02767 
Glass Hits: 
Go Down: Viale Dei Colli, 65, 31041 Cornuda (TV) 

Gouride:, gouride.bandcamp. 

Grave Mistake: 
Hardcore Survives: 
Haunted Hotel: PO BOX 348, Centuck Station 
Yonkers, NY 10710 
Her And Now!: 
Hesitation Wound: hesitationwoundrecords. 
High School Refuse: Berlageweg 12, 9731 LN 

Groningen, NETHERLANDS, 
Hold Tight: 
Honor Code: 
La Humanidad Es La Plaga: 

In My Heart Empire: 

Jungle Beat: 
Kaiser Bitnik: 
Kind of Like: 
Last Laugh: 313 President St #2, Brooklyn, NY 

1 123 1 , 
Latchy Key Kids: 

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Meth Bog: 
Mind/No Mind: 
A Mountain Far: 
Music Hole: 
Nerd Table: 
Nightbringer: 2715 Radcliffe.Ann Arbor, MI. 
Nikt Nic Nie Wie: PO Box 34-400 Nowy Targ 
POLAND, Info® 
No Balls: 
No Clear: 
No Front Teeth: nofro^ 
No Power: nopowerclt; 
Nuclear Tomorrow: 
Obdura Distro: 
One Eye: 
Outlook:, oursound. 

Paha Tukka Elama: 

Pasazer: PO Box 42, 39-201 Debica 3, Poland 
Pass Judgement: 
Patac: PO Box 2082 Hyannis, MA 02681 
Pau Wau: 815-ABrazos St #656, Austin, TX 

7870 1 , wwwpauwaurecords .com 
Pig Champion: pigchampionchicago.bandcamp. 

Private Leisure: 
Profane Existence: 
Punk Alive: 
Pure Punk: C.P 214, 43 100 Parma, ITALY 
Pyrate Punx: 
Radiation: Casilina 44, 00176 Roma ITALY, 
Rapid Pulse: 

rapidweb «• 
Reactionary: PO Box 702, Athens, GA 30603 
Rebound Action: 
Red Scare: 
Refuse: ref userecords .nfis 
Rescued From Life: 
Ril Rec: 
Riot Style: 
Rome Burns Again: 

Rowdy Farrango: 
Self Aware: ww w.selfawarerecords .com 
Seven Eight Life: 
Snackboys: control vschaos@hotmail .com 
Songs for Snakes: 

Snotty Kids: 
Stonehenge: BP 30005, 33037 Bordeaux Cedex, 

Superior Viaduct: 
Telephone Explosion: www.telephoneexplosion. 

Terra Firma: 3339 Falls Rd., Baltimore, MD 21211 
This Charming Man: 
To Live A Lie: c/o Will Butler 2825 Van Dyke 
Avenue Raleigh, NC 27607-7021 www.tolivealie. 
Total Punk: 
Trouble In Mind: 
Twelve Gauge: 
Under the Surface: 
Weak Link: 
West Palm Beotch: 
Youngblood: PO Box 236, Ephrata, PA 17522, 
Zodiac Killer: 



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demo! Reviews by Mariam Bastani, Justin Briggs, Robert Collins, Amelia Eakins, Layla Gibbon, Greg Harvester and Tony Molina. 

ABDUKTION - I don't know what's in the wa- 
ter in Houston, TX- but they have some crazy punx in 
devastating bands tearing their way onto my raw punk 
loving radar. ABDUKTION is like a Spanish DIS- 
CHARGE with a Finnish feel. Pure raw punk perfec- 
tion. (Amelia) (7-song cassette, lyrics included, Fer- 
mented Chaos,, $5 post- 
age paid to 1719 Weber Street, Houston, TX 77007. 

ABSURDO - This tape came in a package with 
a CROSTA tape too because I think the bands toured 
Europe together? Anyway, this is raging relatively 
straight ahead hardcore from Barcelona, land of 
punk invention and destruktion... Meaning this is not 
charged distorted glue huffer core, it's hardcore that 
reminds me of 1980s DC, sort of straight ahead in a 
Year in Seven Inches manner, then a guitar sound that 
comes in like IGNITION in a surprising and pleasing 
style to these ears. This isn't some throwaway band 
made up of people trying to catch a trend wave, it's 
powerful simple and passionate, I imagine they fuck- 
ing kill it live, and if you care about this stuff I be- 
lieve the band is made up by people from SUDOR and 
OTAN, but I could be wrong... This sounds like a 12", 
someone should make it happen! Hector sent me this 
last summer and it got lost in a pile so maybe someone 
did?! (Layla) (13-song cassette, lyrics included, Apdo 
de Corrace 24042, 08080 Barcelona Spain) 

ADULTS - Vol II - Fuck! I want everything this 
band has put out! They were reviewed in this column 
last month with (I'm assuming) a different tape and 
it sounds like it was just as great. No bullshit. No 
filler. Just straight up, straightforward punk rock full 
of hooks and energy. Imagine if the DICKIES lost 
their keyboard and only put out the Paranoid 10" or 
if the HEARTBREAKERS decided to shoot fuckin' 
speed instead of heroin. Now imagine that they live in 
Oakland in 2012 and recorded all of their songs on a 
four track in a living room. It would, sound similar to 
ADULTS. Everything about this is perfect. (Greg) (6- 
song tape. No lyrics, 

PU - I'm very pleased that ARMLESS CHILDREN 
isn't as heavy as I was expecting, and instead I'm 
treated to a dosage of classic DISCHARGE-via- 
Scandanavian audio assault. Not adding anything to 
the sound, but I don't think that's the plan. MAAI- 
LMANLOPPU, on the flip, take the classic Finnish/ 
Propaganda/Poko sound and run with it. Again, noth- 
ing new here, just classic styles done well. (Justin) 
(9-song cassette, lyrics included, armlesschildren® 

THE BEATLES - Second cassette release from 
these brilliantly named Canadians, this one delves 
even deeper into guitar driven adult punk. Sharp 
and complex constructions, like NOMEANSNO 
reincarnated as a '90s Dischord band perhaps, but 
with heaps of screaming early boogie rock thrown 
bizarrely into the mix. "Hate My Dad" is a short and 
brilliant hard hitting indie masterpiece, while some 
of the quieter bits fall a little short to me (but I am, 

of course, just one man). Once again, the BEATLES 
even at their most blah is still well worth my ears' 
attention, and when everything gels they are fukkn' 
superb. (Robert) (8-song cassette, no lyrics, beatle- 
mainia.bandcamp .com) 

BLACKLISTED - 1 have to admit that I was skep- 
tical of this band when they started off the demo with a 
four-and-a-half minute ska-punk song, but it only goes 
uphill from there. BLACKLISTED plays good, upbeat 
punk that alternately reminds me of LA PLEBE and a 
more straightforward DE KIFT. Usually, horns are the 
death knell of a band for me, but they make it work. 
The trombone adds excellent flourishes to the songs 
and really brings it all together. Excellent revolution- 
ary street punk. (Greg) (5-song CD-R. Lyrics included. 

BOMBATOLCSER - More crusty grind, this 
time from a Czech band. Six tunes that pretty much 
just blast from start to finish on this demo, with your 
usual screams and grunts. Decent recording, well 
done, just not my thing. (Justin) (6-song cassette, no 
lyrics included, 

BOMRAW - Violent and visceral metallic raw 
punk from Houston, Texas. Rippin' guitar solos. 
Brutal and driving drums. Very noisy and gruesome 
recording. Makes ya wanna claw yer eyes out and 
burn churches. (Amelia) (5-song cassette, send shit 
to Tony at 1619 Sabine, Apartment B, Houston, TX 

CARCASS GRINDER / SMG - Japan meets 
Malaysia in this head to head thrashing grinding fast- 
core battle. Both sides have moments of "true grind" 
blasting, but spend a bunch of time just thrashing 
about with actual coherent riffs and beats under 
gurgling and screaming vocals. (Justin) (11-song 
cassette, lyrics included, revulsionrecords.blogspot. 

CIRCUS OF LAMIA - I don't even know 
where to begin with one . . . somewhere near the nexus 
of gothic metal, bar rock and goofball thrash lies 
the CIRCUS OF LAMIA, who apparently hail from 
Sweden. Operatic female, vocals theoretically tie ev- 
erything together, but aside from that there's little 
unity to these songs. In all seriousness, this reeks of 
juggalos and Myspace. Gross. (Will) (3-song CD-R, 
no lyrics, 

CROSTA - Really cool punk from Barcelona, 
this tape is a documentation of a certain period of 
this band as they figured out their sound; it has cool 
liner notes detailing this, about getting into punk and 
how being punk means I constantly reassessing and 
obsessing about what bejng a punk is/means when 
you hang out... Primitive punk sounds contained on 
this, with dual male/female vocals, really passion- 
ate and powerful style, I think they have more of an 
anarcho sound now? This is definitely going in that 
direction, and it's a great tape by a great band. I have 
a CD demo by them too but my CD player just broke 
so I will review that in the future. (Layla) (6-song 
cassette, lyrics included, Apdo de Corrace 24042, 
08080 Barcelona Spain) 

CRUDE THOUGHT - This is really awesome 
and I rue not going to see them when they were in 
town but it was out of my control. The tunes here 
have my head going in so many places at the same 
time and all of them make perfect sense: a little 
mosh, weird hardcore, classic punk, the FU'S song 
"Die For God," NIRVANA. Great use of repetition 
to create interesting tunes. Hope they come back to 
play soon. (Justin) (6-song cassette, lyrics included. 
PO Box 7302, Olympia, WA 98507) 

CRUDE THOUGHT - 1 saw this band play at a 
bowling alley in the outskirts of SF, the guitar player 
has sick style, just really interesting watching him 
play and the sound he creates within the constraints 
of HC... Weird sort of Pagan Icons shit but in a more 
hardcore setting!? I don't know how to contextual- 
ize it. The last tape was a constant on my tape player 
as were the one or two youtubes of them playing in 
their Olympia hometown, but this one is more like 
watching them play maybe!? If sounds so good! All 
the parts that make this band compelling are clear and 
out for blood... that guitar sound! ! ! Ominous hardcore 
with a front person that is bottled violence in action, 
tough girl like NOG WATT sounds but no metal , just 
solid "Ready to Fight" style... I fucking love this 
band! Aggro and fucked up, really just interesting 
song writing and take on what hardcore can be, us- 
ing dark imagery without dooming itself to a woe- 
ful mysterious cliche tomb. This rules and this band 
needs a record ASAP. (Layla) (6-song cassette, lyrics 
included, PO Box 7302, Olympia WA 98507) 

from Prince Edward Island, take on some of the sta- 
dium crust elements of TRAGEDY and mix it with 
liberal doses of screamo and thrash to make a blaz- 
ing demo that is well-produced and tough as fuck. 
They get points with me for keeping all of their songs 
around the sensible two and a half minute mark. 
(Greg) (7-song CD-R, lyrics included, deafhmer- 

DEAD WITCH - Two-piece, lo-fi, metal/punk 
from Berkeley, CA. They mostly stick to the punk 
side of things and have a trebly, "high gain" guitar 
tone that produces the most atrocious feedback; but 
some of you fuckers like that kind of thing, don't 
you? The vocals are reverb soaked and mixed really 
high. Overall, it's fairly basic and easy to digest. My 
favorite song title is "When You Die, You're Gonna 
Die." (Greg) (12-song tape, no lyrics included, 2924 
Claremont Ave #1 1 , Berkeley, CA 94705) 

DEHUMANIZED - This demo kicks off with a 
dark acoustic guitar intro with wind blowing in the 
background and then shifts into low fi thrash. I hear 
metal influence, but no wanking — more CELTIC 
FROST styled. There's a synthy intermission in the 
middle of the demo that kinda reminds me of DEATH 
IN JUNE. I dig some straightforward moments, but 
a couple songs drag a bit too much for me. The re- 
cording is the weakest part — everything sounds a. 
bit separated, especially the vocals, but maybe this 
is intentional, like those obscure black metal tapes 


or something. The lyrics are very bleak and point out 
the many atrocities the world is plagued with today. 
(Matt) (4-song cassette, lyrics included, 1324 Central 
St NE, Olympia, WA 98506) 

DIAT - Three tracks of cold and robotic punk/ 
post-punk from this German unit. Rhythms, leads, and 
vocals that remind me a lot of CRISIS / JOY DIVI- 
SION. All wrapped in simple abstract artwork that has 
a very Cold War/Eastern European concrete-and-steel 
feel to it. Me likey. 7" soon on Iron Lung rex. (Justin) 
(3-song cassette, no lyrics included, youthofneukoel- 

DISPLEASURE - Part of the Oakland destruction 
scene that is taking over the Bay, when I saw them play 
they brought to mind a less OCD RUDIMENTARY 
PENI, sorta blown out anarchohardcore, but this tape 
is more Dangerhouse/What records 7"s in a total girl 
FU style. A dream show would be these humans and 
LIVID, total UXA/AVENGERS Hardcore California 
On Broadway reset in Oakland warehouses and fall- 
ing apart punkhouses. "By the Light of The Axe" is 
the PROLETARIAT playing Death Church as the city 
burns. This is if you can't tell one of the things you 
should send off for OK? (Layla) (7-song Cassette, lyr- 
ics included. Stay Punk Tapes, c/o Alex Turner, PO 
BOX 22302 Oakland CA 94632) 

DON GARNELLI - This is a pretty fierce tape 
from these noise/grind/powerviolence weirdos. They 
play short bursts of furious digital grind interspersed 
with flowing ambient soundscapes. It's fuckin' noisy 
as shit and grating in the best way. They create a per- 
fect mood of total anxiety. The best part? It's a windy 
night here in San Francisco and I thought the tape was 
still playing for ten minutes after it was over.(Greg) 
(??-song tape. No lyrics included. No Contact info) 

DRUG CULTURE - Angry dude hardcore. 
Straight forward, raw, and moshable with a screamo 
feel. Harsh vocals, break downs, and drop D guitar 
giving it a metallic feel at times. Short, fast, and 
sweaty. Total frenzy. (Amelia) (5-song cassette, lyr- 
ics included and written as a script ya score when ya 
lie through your teeth, 815 East 34th Street Tacoma, 

EASY TIGER - Smart nihilistic hardcore from 
the mean streets of Iowa, EASY TIGER put M0- 
TORpunk through the ringer on these five jams. 
"Grampa Ugly" is adolescent, and pales in com- 
parison to "Annihilation" or the frank frustration of 
their eponymous opener. They are all over the place 
vocally, which prevents them from having any real 
cohesion — it sounds as if this could be a mix tape 
instead of a demo... but when they hit on all cylin- 
ders you are treated to charging hardcore punk with 
uncharacteristically clean and determined vocals. It's 
a demo, and EASY TIGER have demonstrated that 
they can intrigue me. (Robert) (5-song cassette, lyr- 
ics included, 

THE EVERYMEN - Seconds As an English 
Language - This tape is a recording of a fun (well, it 
sounds like it) show in New Jersey, but the joy doesn't 
translate too well in this mix. the EVERYMEN play 
a brand of drunk, sloppy rock backed by a saxophone 
and they routinely demand the audience to "dance, 
motherfuckers!" As the tape drags on through their 
long set, you can hear the band getting drunker, more 
off-key and slower. I don't know how you feel about 
these things, but when this happens at a show, I waste 
no time starting up a conversation and sharing a beer 
outside in the alley. Similarly, I found myself wanting 
a drink while listening to this tape. Take that as you 
will. (Greg) (13-song tape, no lyrics included. Baldy- 

EWC - We The Kill - This band sent their demo 
all the way from Helsinki, fucking Finland, but they 

could tell me that they were from New Jersey and I 
would believe them. The lyrics are all sung in English 
and the CD cover is a take on the Krispy Kreme logo. 
As far as the music goes, it's a very clean recording by 
three people who obviously listen to a lot of MISFITS 
and the DESCENDENTS. The vocals are further into 
the Danzig camp than the Milo camp. Not bad. (Greg) 
(10-song CD-R. No lyrics included. ewcband@gmail. 

EX-CRAW - Extinct demo - Hardcore punk 
that's like a cross between TEAR IT UP and BRAIN 
KILLER. Very urgent hardcore punk. I'm glad this ex- 
ists—it's short, fast, and feedback drenched. I can only 
imagine what brutality they bring live... (Amelia) (1- 
song cassette, lyrics included, $2 plus postage or trade, 

FALSEHOOD - I like a tape that comes with a 
warning disguised as advice: "Dear Reviewer: If you 
partake in bong worship, please do so before entering 
this sonic landscape." Well, kids, I don't but here we 
go! Do I really even need to review this after such 
a prophetic preparatory sentence? Slow and epic 
stoner rock, the kind that takes a really long time to 
go anywhere, but you are really glad that you stuck 
around once it gets there. Sweeping sounds not far 
removed from BURIED INSIDE and TEMPEST 
stand apart from the more standard stoner fare that 
makes up the bulk of the tape. I can imagine that 
these dudes are going to sound massive when they 
move past the demo stage. Epic. (Robert) (5-song 
cassette, no lyrics, 

FASTBOYS (MIA) - Who Are You, Kidding Me? 
- Okay, this band has Buddha (from HIDDEN SPOTS, 
and a million more) playing guitar for them, so they 
win with me, since he is the best guitarist in melodic 
punk today. Getting past that, this band has attitude to 
spare, taking influences from JOHNNY THUNDERS, 
the DEAD BOYS, the STUN GUNS and definitely the 
DICTATORS. For lesser bands, this can mean drown- 
ing in a boring sea of cliches and retro disaster, but 
when you can tell that the band lives, breathes and eats 
rock n roll 24/7, it makes all the difference. Some of 
the guitar hooks in these songs give them the feel of 
an instant classic. This is fucking great! (Greg) (9-song 
tape. No lyrics included. 

FIGHTER//SLAVE - Not even rewound and 
poorly dubbed— already off on a poor start, guys! 
Has a very mainstream punk feel. Boring, fucking 
boring. Very rhymey and snotty vocals. Mall punx. 
I've heard good punk from Halifax, so I don't count 
being isolated as an excuse for men not in their teens 
sounding like a watered down Epitaph band. (Ame- 
lia) (? songs, $5 to Adam West 6314 Willow Street 
Halifax NS CANADA B3L 1N9, hellcomestofrog- 

FLIP SHIT - Nowhere, New York skate punks 
kill it on this second demo. Beer and boards man. 
Think ANNIHILATION TIME with a little less 
THIN LIZZY in the mix and more emphasis on punk 
rock. POISON IDEA cover was a bad idea, but the 
rest of this rules. (Robert) (5-song CD-R, no lyrics. 

THE FLOOR ABOVE - The first demo from this 
band packs twelve fast, screamy hardcore songs into a 
quick ten minutes (possibly less). There's something 
about this that reminds me of those old Blllleeeee- 
aaaaaauuuugggghhh compilations that Slap A Ham 
Records put out years ago, although these songs are a 
little bit longer. It sounds like this band figured out the 
chords to each song and then recorded it without learn- 
ing how to end the song because they all just fall apart. 
It's fast, short and sloppy as shit. I love it. (Greg) (12- 
song tape, no lyrics included, 

THE FLOOR ABOVE - This is the second 
demo this month from this band and they sound more 
focused. As their first demo, the band 
sounds more influenced by the raw punk sounds of 
D CLONE and MAUSER, with the treble turned up 
to ten. They still have hard time ending their songs 
without having the whole thing fall apart, but it's 
fuckin' punk, right? Every song on here is energetic, 
raw-as-shit and punk as fuck. Six songs blaze by in 
less than six minutes. (Greg) (6-song tape, no lyrics 

LA FRACTION - A cassette release of 2007's 
La Vie Revee full length, the third from LA FRAC- 
TION. The lilt and innocent cracks in Magali's 
vocals sound as perfect to me this morning as they 
did when I first heard this band, and the guitar is as 
simply stated as it was when they filled a Milwaukee 
basement with sweat eight years ago, and I want to 
see them play again perhaps even more than I did 
when I put them on a plane to return to France after 
sharing a month in a van with them. It's rare that I 
can call a punk band beautiful and sweet and have 
these descriptors meant as compliments, but LA 
FRACTION are both, and they are compliments in 
the highest regard. Not a new band, or even a new 
release, just a brilliant record on a new (old) format, 
so we call it a demo. (Robert) (10-song cassette, lyr- 
ics included, Trujaca Fala, PO Box 13, 81 806 Sopot 

- Too Many Burgers - Judging that there's naked 
dudes wearing masks on the cover eating burgers, I'm 
guessing that these are the gentlemen behind FRAN- 
is a letter that states "The contents of this tape are 
meant to bring an end to the Garage Rock Revival by 
satirizing our local rock gods Burger Records." Hi- 
larious. As for the jams, it's pretty sick, trashy, igno- 
rant punk with a drum machine. I support FRANCIS 
HAROLD'S attempt to end the "garage rock revival", 
even though I'll never listen to this tape again. (Tony) 
(9-song cassette, lyrics included, fhandthefuller- 
tones @ gmail .com , toomanyburgers 

FULL SUN - High Ceiling - Jeff Grant, formerly 
of PINK RAZORS and currently drumming in FAT 
SHADOW, has an ear for an insanely catchy pop hook. 
He recorded all the instruments for this tape by himself 
in his basement in Indiana. I blasted it out of my boom- 
box while sitting on Bemal Hill overlooking the city 
of San Francisco and fell in love with every song on 
here. The first comparison that came to my mind was 
the POTENTIAL JOHNS because of his clever use 
of the understated minor chord that really brings you 
into the melancholy feeling of a great poppy song (my 
good friend Barker would refer to this as "the cinematic 
feel"). Looking past that comparison, there is also trac- 
es of PINK RAZORS, a little '60s garage rock and even 
a hint of the BEACH BOYS. When I first put this tape 
on I realized that it was great, but letting it sink in over 
time has helped me to realize that it is fucking amazing. 
My jam on here is "Spent All We Had" which is taste- 
fully reverb soaked and flawless. The dub song right 
after it provides a laid back reprieve before slamming 
into more masterful pop hooks with "Better." Speaking 
of "Better," you better hurry up and order this because 
he only made 100 copies of it. (Greg) (6-song tape, no 
lyrics included,, Houseplant 
Records. PO Box 3382, Bloomington, IN 47402) 

FULL SUN - Bare Floor - This is the second 
tape from Jeff Grant's recording project, FULL SUN 
and it is no less powerful than the first one. It might 
even be better than the first, which is quite an ac- 
complishment since that first one is unfuckwithable. 
There are nine songs of reverb-filled, understated 


pop genius on here and each song is better than the 
last. As I said in the review for his first tape (featured 
elsewhere in this section) this man has a knack for 
writing a pop hook that will reel you in and make 
you listen to this tape over and over. If you're a fan of 
OF CHAKA, or PLOW UNITED, you'll probably 
want to pick this up, because it is definitely in the 
same camp. Added bonus: the dub songs on here re- 
mind me of listening to the first BAD BRAINS LP. 
As with the last tape, he oniy made 100, so be sure to 
get one soon. (Greg) (9-song tape, no lyrics includ- 
ed, Houseplant Records, PO 
Box 3382, Bloomington, IN 47402) 

FUZZTONES - "Raw Heat; The Real Sound of 
In Heat" - Sounds like a gypsy garage rock version 
of the DOORS. If you like organs, broken hearts, 
whiskey, and bar rock — this is for you. This CD is 
on a hand labeled CD-R complete with a bar code 
on the back. I'm not into it - maybe their earlier 
stuff was good as I think they they're well known in 
some circles, but if you want "cool looking" garage 
rock from thirty or so years ago, go check out the 
CRAMPS or something. (Amelia) (?-song CD-R, no 
lyrics. Go Down Records, Viale Dei Colli, 65, 31041 
Cornuda (TV) 

GAMLA PENGAR - Catchy guitar driven punk 
from Sweden. Melodic m/f vocals, not that far re- 
moved from the mid '00s crop of addictive Scandina- 
vian punks but with a decidedly more adult approach 
and more teeth than bands like KNUGEN FALLER. 
"Angest" is the jam — vocal melodies are a total 
winner. (Robert) (4-song CDr, no lyrics, % Beat 
Butchers Fredmansgatan 7a ltr, 118 47 Stockholm. 

GUILT PARTY - This demo is entitled Base- 
ment Church and the songs seem lyrically themed 
around attacking organized religion, which is an 
institution that can always use a good trouncing, 
especially when it's done over blazing hardcore that 
evokes classic microphone cable strangulation ritu- 
als. There is one hook on the whole tape, on the third 
track and it's a substantial enough punctuation mark 
to reveal that the group can pen more accessible 
tunes but don't care to, and why should they? (Sam) 
(4-song cassette, no lyrics included'. Bummer Tapes, 
1428 Wentworth #2 / Houston, TX 77004) 

GUILTY PARENTS - Slime Wave demo - 
GUILTY PARENTS are from England and are fuck- 
ing weird. Think weird in the vein of UV RACE and 
CRAZY SPIRIT where you want more. I guarantee 
some, if not all, of these kids went to art school and 
did acid at least once. I'm gonna pige'on hole them 
on a Todd P line-up if they make the States. I'd give 
'em a listen. (Amelia) (haze-of -songs, no lyrics, no 

HALDOL - Melodic "hardcore" that reminds me 
of seeing grown ass dudes crying at the Round Table 
in Half Moon Bay in '99. Not a good look. I can't 
believe shit like this is still a thing. If you've never 
heard punk before/are down with Ebullition shit/are 
very sad, you should check out this band! (Tony) 
(6-song cassette, no lyrics, welcometochernobyl® 

HUNGER / WOLFBAGGING - Fan of "raw," 
"lo-fi," and "blown out" here, but I really have no clue 
what's going on, on the WOLFBAGGING side of this. 
Is it fast? Is it slow?" I think it's "weird" hardcore that 
at times sounds like black metal, and is usually fast 
and often breaks into slow plodding parts. But I'm just 
guessing, 'cause like Ray Charles, "I can't hear shit." 
On the flipside, HUNGER is a little more coherent to 
where I can tell what is generally happening and the 
pace of the music, which is mostly a mid paced rog- 

ering with occasional stomping going on. This also 
clues me in to what 1 think is happening on the WOLF- 
BAGGING side, and I believe my earlier assumptions 
were right. Had to get all Angela fuckin' Lansbury up 
in here. (Justin) (4-song cassette, no lyrics included. 

sembled split tape that's oozing with anarchism. HEL- 
LO BASTARDS from London offer up 13 tracks of 
some seriously heavy and tight crust bringing to mind 
Greece bring six pretty dynamic and grinding thrash 
tracks with a dual vocal attack. Admittedly, neither 
one of these styles are really my cup of tea, but I must 
say this is a truly brutal tape. Both bands are top notch 
musically and lyrically and are the perfect match for 
this tape. Great stuff! (Matt) (19-song cassette, lyrics 
included,, Giannis Psi- 
moulis,Kritonos37, 166 74. Glyfada, Athens, Greece) 

KICKING SPIT - A fan of the two song cas- 
sette release, our buddies at Tank Crimes offer up 
the second offering from these '90s guitar rockers. 
and later MUDHONEY appear to be the goal, and 
while their first release left me a little flat, KICKING 
SPIT nail it on this one. "Reality Dropout" is a certi- 
fied banger, SUPERCHUNK vocals making waves 
in a sea of guitars - and I really want more than two 
songs. Worth it. (Robert) (2-song cassette, lyrics in- 

KONTAMINAT - Awesome hardcore here from 
the post-DEATHREAT school, which, judging by a 
couple clues isn't just an accident. This is a really nice 
and powerful example of taking simple catchy anthe- 
mic punk riffs and really pushing it to a whole new and 
much more aggressive level. Tasteful leads, relentless 
drumming that never tires, a solid rumble, and a real 
sense of anger, do nice things here. Worth mentioning 
that KONTAMINAT features folks from LOS CRU- 
this sounds like none of those bands and stands well on 
its own. Into it. (Justin) ($4 ppd. 6-song cassette, lyrics 
included. Friedberg 5016 N. Kimbell #1. Chicago, IL, 

KOWARD - Some EP Stuff + Live Stuff- One of 
the best bands in the past 10 years, hands down. Feed- 
back laden with bloodshed riffs, they're spot on in that 
Swedish vein. The corrosive undertone I've heard live 
and recorded from these maniacs is that pure Boston vi- 
olence that permeates every aspect of that punk scene. 
This has been channeled by KOWARD and creates total 
fury mania live. I don't even think I should be review- 
ing this band — they're too gbod. If you like what's 
come out of the Boston hardcore punk scene over the 
past couple of years (think BLOODKROW BUTCHER 
and SCAPEGOAT) this band is for you. I can't really 
compare them to another band, but CRUDE SS and 
ANTI-CIMEX come to mind, with a more hardcore 
edge that you can hate-mosh to. The live recordings are 
clear enough on this tape and capture what needs to be 
heard. I don't even know how many of these were made 
or what this tape's deal is. but I'm glad it wound up in 
my hands even if it probably won't wind up in yours. 
(Amelia) (enough songs. ,no lyrics, 
koward-bosto, give them your money) 

LET IT BLEED - Vot I - These are some re- 
ally straightforward rock jams, like dudes who are 
into KBD type shit doing more STONES, JOHNNY 
THUNDERS style riffage. It's actually not a bad look 
and I dig most of these jams. I guess this is ex- WILD 
THING as well, so cop this if that's your style. (Tony) 
(9-song cassette, no lyrics, 676 17th St. Oakland, CA 
946 12,' 


and snotty female fronted shits. Vocals rule (the 
leads and the dude that backs them up) and a filthy 
approach brings to mind BLACK FORK. I wish I 
had more info to share, because this is one to look 
out for. (Robert) (4-song CD-R, no lyrics, no contact 

wardly named band consists of two women banging 
out some overblown, primitive, loose garage rock that 
reminds me of a sleazy marriage between PANTY 
RAID and the YOUNGER LOVERS. There are some 
slight hints of the first DONNAS EP as well. A few of 
the songs don't have hooks that sink into me. but the 
ones that do really work. Really good. (Greg) (1 2-song 
tape. No lyrics. Burger Records, 645 S State College 
Blvd #A. Fullerton, CA 9283 1 . 

MEAT MIST - "Bleak Bisque" - MEAT MIST 
is a disgusting phrase (as are the suckling sounds that 
start this demo [which comes in a cloth sleeve that 
is sewn to resemble a steak]). Musically this is quite 
interesting and adventurous in a repetitive, droning, 
pulsing, sexually frustrated, art-y-hardcore-almost- 
nodding-to-BIG-BLACK kind of way. Very fucking 
angry but not in a base way. True weird sounds and I 
am curious to hear what they do next and with a more 
consistant sounding recording. I think I may have just 
seen that they have a split " out now? "Fuck love. Snort 
drugs. Artscum." (Justin) (9-song cassette, lyrics in- 

METH SORES - Fucking sick, brutal, noisy and 
menacing hardcore. Very much in the vein of VILE 
GASH or any threatening hardcore let loose in the 
USA today. Totally devastating and terrifying. Has a 
mysterious guy hardcore feel. I dig it. (Amelia) (6- 
song cassette, no lyrics included. Life Sucker Produc- 
tions PO Box 693 1 San Jose CA 95 150) 

MILK MUSIC - 1 wish this band had five LPs out 
already. How long ago did the last one come out, in 
2010?! Before that?! I guess when you write songs this 
good it takes time. They make music that is whole, the 
guitar sound creates a feeling that allows you to travel 
with it in the same way listening to Meat Puppets II 
or Live Rust do. The totality of the sound makes you 
feel part of something and alone all at once, it's both 
uplifting and totally melancholy. I am sure you already 
know if you like this band or not, and maybe you know 
that most people casually- throw in J MASCIS refer- 
ences, but while there is definitely something in that, 
I think it's sort of an inaccurate way of placing MILK 
MUSIC. Their sound is rooted in SST records great- 
ness, but it's their own, it's not a series of neat ref- 
erences, it's something else. There's different feeling 
that I am not gonna be able to articulate at one in the 
morning when I am typing this, but needless to say this 
is a radio session recorded for WMFU and it has a pre- 
viously unreleased song and you should get it. (Layla) 
(6-song cassette, no lyrics, 806 Fir St SE, Olympia 
WA, 98506) 

MINEFIELD - Goddamn! MINEFIELD rips right 
out of the gate playing ripping, old school, thrashy 
hardcore. The riffs aren't anything new, but they play 
with vigor and raw enthusiasm. Their drummer is play- 
ing fast as fuck and their singer sounds like a fucking 
insane wild man. It's like DRI falling down a staircase 
while fighting RAW POWER... in Russian. Fucking 
great! (Greg) (6-song tape. Lyrics included in Russian. 

THE MOONLIGHTERS - Hokey, "spooky" hor- 
ror-rock with the treble turned up to ten. It sounds like 
a lost soundtrack to Slumber Party Massacre 2. (Greg) 
(8-song CD-R. No lyrics included, www.midnightrev- 
iewpresents@ gmail .com) 

MUTANT CROSS - Death Crawls - Noisy hard- 
core punk from San Jose. Nothing to write home about. 


(Amelia) (5-song cassette, lyrics not included, Life 
Sucker Productions PO Box 6931 San Jose CA 95150) 

MY TURN - Noble Intentions - This hardcore 
band from Greece is pretty fuckin' rad! They have a 
shredding youth crew feel that reminds me of a cross 
between the first GORILLA BISCUITS EP and early 
7 SECONDS. They have the gang vocals nailed. "This 
World" makes me want to rip everything off my walls 
and smash my head through the window, screaming 
the lyrics to all the people walking down the street. 
(Greg) (6-song CD-R, lyrics included, 

NAMELESS CULTS - Mid-tempo meandering 
screamo with emphasis on cacophonous heaviness. 
Pictures of people rolling around on the floor dance 
through my head, even though this sounds far angrier 
than most things I would lump into the genre. Most 
of the songs are short, and leave you feeling anxious. 
which I imagine is the desired, effect. (Robert) (9- 
song cassette, lyrics included, namelesscultsl. band- 
camp .com) 

NERVOSAS - Sharp, angular punk from Co- 
lumbus, OH, this sounds like it was recorded to tape 
no later than 1982 (meant as a compliment) . At first 
glance this might be mistaken for simple garage 
punk, but a closer listen reveals a serious debt to the 
pantheon of quirky, art-school bands like WIRE and 
Australia's THOUGHT CRIMINALS. The warped, 
idiosyncratically-effected guitars add another awe- 
some layer to this tape, as do dual-gender vocals 
when they occasionally surface. "Unstable" is seri- 
ously one of the best songs I've ever heard, instantly 
becoming ingrained in my musical subconsciousness 
for the foreseeable future. This totally, fully rips. 
(Will) (11-song cassette, no 

THEE NODES - Living Like a Corpse - Woah 
this is awesome! THEE NODES are. from Montreal 
and have a weird thing going on. Vocals are nasally 
and shrieked and the bass is bumbly and the tunes are 
catchy! Definitely a Killed By Death quality to it. but 
with notions of hardcore in a couple songs. The insert 
says "long live freak punk" — which accurately de- 
scribes this. Mix some FYP with some OUT WITH A 
BANG and CRUCIFUCKS, and this is pretty much 
what it would sound like. After the 5 songs by THEE 
NODES, Mr. Node (the vocalist) introduces some 
material he recorded before THEE NODES, which is 
pretty much in the same vain but slower — reminiscent 
of RED CROSS. The note that came with this says this 
copy is one of one — I hope for the sake of all you 
readers that they make more, cuz this is some great 
punk! (Matt) (9?-song cassette, no lyrics, m.smith08@, Matt. 1619 William St. #220, Montreal, QC 
H3J1R1, Canada) 

NO MORE ART - This tape fucking rules! I find 
it impossible to not compare this band to MASSHY- 
STERI and TERRIBLE FEELINGS, due to their clean 
guitars, rock-steady mid-tempo beats and strong fe- 
male vocals, but NO MORE ART is definitely not a 
carbon copy of that stuff. Hailing from Germany and 
featuring members of BORN DEAD and RED DONS, 
NO MORE ART has an upbeat, melodic punk attack 
that demands your attention. Some pe.ople .would call 
it infectious and they would be right. I've already lis- 
tened to this tape three times in a row. There are four 
songs, the lyrics are sung in English and there's not one 
dull moment on this thing. Killer! (Greg) (4-song tape, 
no lyrics included, 

OBSESSOR - "Obsession/Underworld" & OB- 
SESSOR - "Sick Salvation/The Demon" - Four 
songs of classic thrash metal worship split over two 
tapes with classic riffs, good vocals, tight playing 
and a good recording. Since OBSESSOR is Brandon 

ING / WASTED TIME, the "punk" still bleeds 
through these tunes in the end, no matter how much 
they remind me of DESTRUCTION. An impressive 
showing. (Justin) (each are 2-song cassettes, no lyr- 
ics included. Tankcrimes PO Box 3495, Oakland, CA 

OTIS REAPER - Heavy and rumbling sounds 
from Tennessee ■*- the result is basically stoner/ 
sludge, but these gents do something different that 
I can't quite put my finger on. The vocals sound 
pained, and the lyrics bounce between bleak ex- 
istence and terrifying feats of consumption, while 
the rock lurches forward with a handicapped gait. 
Definitely southern, definitely epic. (Robert) (5-song 
cassette, lyrics included, failedrecordings.bigcartel. 

THE OVENS -Arg, this tape is completely cov- 
ered in tape sqeeel, which is a true bummer because 
it's an awesome way punker take on the HEAVENS 
TO BETSY sound, really impassioned and raging 
riot grrrl inflected punk. This tape fucking rules!! 
It's a two piece but does at all sound like it; full of 
power and toughness, this is a super inspiring and 
cool update on the grrrl sound! I wish my tape was 
not so fucked up, because it's barely listenable and I 
wanna play it til it won't play no more! Seriously, if 
you love the HEAVENS TO BETSY demo/pre-LP 
era, and wanna listen to a modern day punk girl take 
on that sound that adds in some sick WIPERS gui- 
tar and a truly savage attack the OVENS will do the 
job! Yes! Girls are ruling all towns with so many sick 
new bands!! (Layla) ((11-song Cassette, no lyrics. 

PARQUET COURTS - This one is hard to fol- 
low, but it's been great fun trying. Steady and polite 
indie/post punk is drenched in shoegazing fuzz and 
then the whole mess gives way to a Brooklyn art 
school manifesto by way of SOCKEYE or 50 MIL- 
LION. The shit is weird, but I'm into it. (Robert) (1 1- 
song cassette, no lyrics, 

PUNK is Jo from GERM ATTAK covering the entire 
PEACH KELLI POP album. The idea sounds like a 
turd in a punch bowl, but it is absolutely brilliant. I 
mean, yeah, it's a novelty, for sure, but it is good! 
(Justin) ($4.50 ppd US, 10-song cassette, no lyrics 
included. exbxcool@gmail,com, statuspeople.big- 

PESTE - Relentless hardcore punk outta Barce- 
lona, sorta reminded me of E 150 somehow? Brought 
to mind early '00s HC sounds, pretty raging stuff, I 
bet this band destroys live. (Layla) (7-song cassette, 
lyrics included. Hector Garcia, APDO 24042, 08080 
Barcelona, Spain) 

PIRESIAN BEACH - This showed up in my 
box shortly after a visit to the MRR house by a selec- 
tion of mysterious Hungarians, and I think the two 
instances are connected. Dark scratched out bedroom 
recordings, first song is like a totally deconstructed 
"Dark Entries" slowed down and transmitted through 
Alan Vega's desolate Budapest counterpart. Second 
song is a desperate but treacle-y warble, then it sort 
of veers towards FELT, but all in all this is desolate 
bedroom recordings. DIY transmissions... (Layla) 
(5-song Cassette, no lyrics, Pirisianbeach.bandcamp. 

sounds, manipulations, noise, archival material ma- 
nipulated into nonsense and punctuated with guitar 
psych freakouts. Dive in if you're brave. (Robert) 
(1-song cassette, no lyrics, hamburgertapes@gmail. 

RAW DOGS - Never Say Die - RAW DOGS 
play rock 'n' roll influenced punk that has a little bit 

of a cock-rock feel, meaning that they throw in some 
full-on pro guitar solos. I think it's funny when rock 
'n' roll bands sing specifically about rock 'n' roll, 
which is what this band does, but they have some 
seriously good songs on this demo. Some of the 
riffs on this sound like they were influenced by the 
SWEET and GOLDEN EARRING, so you can see 
where this demo is going. Perfect music for dudes 
who like to grow a moustache, get wasted on PBR 
and bro down. (Greg) (8-song CD-R, no lyrics in- 

RAZORBOY - Chainsaw Gutsfuck - Italian punk 
'n' roll that sounds like a watered down ANTISEEN, 
MOTORHEAD, and later GG ALLIN all rolled into 
one. The lyrics and sound definitely throw them in to 
the "hate-rock" category and the three (count 'em... 
three) GG ALLIN songs don't deter from that one bit. 
Unfortunately, those songs are the best ones on here. 
Guitar solos galore. (Greg) (14-song CD-R. No lyrics 

SECRET LIVES - Two songs of very moshable 
hardcore that falls somewhere between classic early- 
'80s Boston and late-'80s New York hardcorez, re- 
corded live in the studio. Two originals and a cover 
of INFEST's "Sick-o". There's some great arguing be- 
tween band members in there too. (Justin) (2-song cas- 
sette, no lyrics included. 666secretlives666.bandcamp. 

SECRET TOMBS - Homemade Braces - Rock 
'n' roll that slips into guitar grooves and noodle-finger 
notations. When the singer starts "feelin' it" and his 
voice gets higher, he is a dead ringer for Fred Cole of 
ing a very thin line between bluesy punk and bar rock 
here with a little Bon Scott-era AC/DC thrown in. 
(Greg) (Tape. Lyrics included. Secret-tombs.blogspot. 

SHAVED CHRIST - Athens GA hardcore freaks 
melding together West Coastal styles with the wild- 
ness of the Master Tapes, creating a band that you can 
imagine opening for COC in 1982. Or on a Thrasher 
Skate Rock comp too... The vocals are unhinged/wild, 
and definitely raise this tape to a different level, with 
oblique lyrics that express disillusionment in a fuck 
you style. Cool weird random guitar leads too... Not 
gonna change your life but worth checking out! (Lay- 
la) (8-song cassette, lyrics included, 559 Pulaski St Apt 
D.Athens GA 30601) 

SHRUNKEN HEAD - Noisy, fuzzed-out hard- 
core punk that is very "now." with its amalgam of D- 
beats, classic '82 US he, flashes of metal like NME or 
VENOM, some elements that are very reminiscent of 
'84-era Japanese hardcore-punk, and moshable break- 
downs. My roommate just asked if this was VILE 
GASH, so that should tell you something-I could see 
this on youth Attack some day soon. (Justin) (5-song 
cassette, no lyrics included, 

are from Tacoma, WA and play really fast hardcore 
with a strong NO COMMENT vibe. Singer has some 
straight CROSSED OUT style vocals as well. Power- 
violence influenced hardcore is pretty much a joke in 
2012, but I think SIDETRACKED are one of the better 
bands doing this style nowadays and it's cool that they 
are still an active band. (Tony) (1 2-song cassette. lyrics 
included ,tolivealie@gmail .com) 

STILLSUIT - The wild sound of abandoned lots 
and smashed glass, the sound of girls destroying a 
practise room and a sound, this is no sound, abrasive 
girl scene no wave punk rock, shards of guitar with 
chanted vocals letting you know that the curse is on 
you. Fuck! I know these women are each in thirty 
bands and I have yet to see any of them! Oakland girl 
scene is taking over. Do or die. (Layla) (9?-song cas- 


sette, no lyrics, 

STRESSED OUT - This is burly, no frills hard- 
core. These guys are definitely in the same vein as cer- 
tain other Canadian hardcore notables that have been 
churning out the goods with startling consistency in 
the last few years. Special admiration for the BLACK 
SABBATH concert riot at the beginning of the tape. 
plus they seem to have recorded over a PIRATES 
OF THE MISSISSIPPI of cassette and didn't bother 
to erase those tracks once their eight songs are done. 
Does this mean I have to review the PIRATES OF THE 
MISSISSIPPI part? It's not punk, so can we even run 
this review? I might pawn this tape off to some of the 
modem country fans around here. UPDATE: There 
aren't any modern country fans around so it got sent 
back to me. There was a memo attached informing me 
that I don't have to review the PIRATES OF THE MIS- 
SISSIPPI bit anyhow, so that's a relief. STRESSED 
OUT, when are you doing a record on Deranged? 
(Sam) (8-song cassette, some lyrics included, $5 PPD. 
614 10 STN / Lethbridge, AB / Canada T1H2E1) 

SUDOR - Woah, sick live tape of one of the most 
ferocious HC punk bands in Spain, the letter has a punk 
with explosive diarrhea reading an MRR, and claims 
that the sound is shit but that's what they like. Uh, I beg 
to differ, this is not a YES live LP. but who wants that? 
I just mean this isn't shit-fi, it's a good quality live re- 
cording of a band in its prime. Tight yet falling apart 
hardcore punk for the tight yet falling apart hardcore 
punx. The packing is beautiful too, handpainted with 
a brutal drawing... If you want a modern day destruc- 
tive take on the classic '80s European hardcore sound, 
SUDOR will take care of that for you, and this tape 
sounds so fucking good totally transports the atmo- 
sphere of being consumed by the energy and sound at 
a show. (?-song cassette, no lyrics, 
SUN OF EYES - The note that- came with this 
CD-R simply said "One man band. Swedish. Mostly 
improvised first takes." The fourth song, "Clouded 
Judgment" shows promise as a stark, gloomy, direct 
mid-tempo punk song, but the rest of it just meanders 
along with no real direction. The last song, "Aiyurug" 
is ten straight minutes of ambient noise mingling with 
casual feedback and the distant sound of a floor torn 
being hit every once in a while. This may be the future 
of punk. I might be high. (Greg) (6-song CD-R. No 
lyrics included. 

SWEET PUPS - This either sounds like the 
soundtrack to an '80s teen movie or a lost GO-GO'S 
demo. It's so pop that it's hard to even think of it as 
pop-punk and there is a keytar player. This is the 
soundtrack to your next slumber party or awkward 
teen mixer in 1983. Features members of TOUCH ME 
SATAN and the CUTE LEPERS. (Greg) (3-song tape. 
No lyrics included. 

SYSTEMATIK - SYSTEMATIK just pulled off' a 
successful West Coast tour and distributed this demo 
en route like an audible plague. They have the most 
amazing guitarist I've seen live so far in 2012. Their 
singer brought it with his passionate, violent, and curt 
vocals. This band has a D-Beat backbone without bor- 
ing you to tears. This is more than your basic raw D- 
Beat punk band, as the guitar solos set it apart, as well 
as the creative drumming. This band contains members 
from Vancouver's UNLEARN. This band is a mix of 
'80s metallic UK punk and hardcore. Very well done!!! 
(Amelia) (4-song cassette, lyrics included, PO Box 
21534. Vancouver, BC, V5L 5G2, CANADA, system- 

SYSTEM DEFECTOR - Super minimal raw 
punk jams from Brighton, England. At times this tape 
reminds me of the first two RUDIMENTARY PENI 
EPs, which is not an easy look to pull off. They have 
a really unique approach in the riffs/drums that's super 

simplistic but fits perfectly. This is seriously so good. 
Cop this if you like punk music. (Tony) (5-song cas- 
sette, lyrics included, no address) 

TEEN WOLVES - The Tape on CDR - Spanish 
punk hardcore out of New Jersey. Melodic and upbeat 
with rippin' vocals. (Amelia) (10-song cassette, lyr- 
ics not included,, 

came with Radikal zine from Murcia. Spain. Moments 
of '77 style rock tinged punk with Spanish street punk. 
This is a three piece with male, female vocals and plen- 
ty of catchy licks. The lyrics are political and personal. 
Definitely worth a listen, can't wait to see what they do 
next! (MB) (14-song CD-R, lyrics included, salvajis- 
moy guerram undial @ gmail .com) 

someone that doesn't fancy themselves a "pop punk 
fan," this is quite enjoyable. The chiming guitars really 
do a good job of carrying the melody where the vocals 
can't and are the whole reason this thing is as catchy 
as it is. 'Cause it certainly is catchy. (Justin) ( 1 1 -song 
CD-R, no lyrics included, 

TORTURA - Raging hardcore punk made by 
some London girls, with a nod to early Spanish punk, 
with I think a vocalist from Madrid? I know some of 
the women in this band are in other amazing but totally 
different bands, and I was really excited to get a copy 
of this demo and my excitement continued whilst lis- 
tening to it. It's 2012 and there are so many sick bands 
to freak out about! This is the sound of riding your bike 
to the edge of town while blasting early ULTIMO RE- 
SORTE, of drinking a beer outside the squat show and 
hanging out with your friends. Savage riffs and vocals 
that merit that early ULTIMO RESORTE comparison! 
It's classic punk, it's vicious and serious and out for 
blood. (Layla) (4-song cassette, no lyrics, 

playing crazy shit that is propulsive and stops time in 
a weird way... Like NO TREND but more fucked up! 
Makes you nervous listening to it, weird FLIPPER gui- 
tars but then the rhythm is sort of circus plod in places, 
like I said this is a disconcerting listen. I mean the bass 
is veering into END RESULT territory and it's giv- 
ing me a nervous twitch. Songs taking down the post- 
Katrina landscape, the forgotten dead, the celebrity 
guest appearances, the attempts to make it into a tour- 
ist bus tour experience whilst the locals conveniently 
evaporate. This is one of those things where it's hard 
to tell if it's genius or terrible, I think it's both!? It's re- 
ally uncomfortable and repetitive, but sort of powerful. 
(Layla) (5-song cassette, lyrics included, $4 No More 
Fiction, c/o Osa 1325 St Bernard Ave, New Orleans, 
LA 701 19) 

UNBROKEN BONES - Okay, first off, UNBRO- 
KEN BONES is a pretty funny name. Getting past that, 
they play tight-as-fuck crossover thrash/hardcore (em- 
phasis on the hardcore). There are some definite nods 
to BROKEN BONES (including a cover) and DIS- 
CHARGE, but they are not a complete revival act. If 
this is the future of Russian hardcore, there is hope for 
all of us. (Greg) (4-song tape. Lyrics included, punk- 

VAARALLINEN -' Delayed vocals, anarchy 
signs, and a bassist named "Glue" — it's pretty per- 
fect. Their art — very basic fuck cops and a punk 
with charged hair — was drawn by "Peste and DIS- 
CHARGE museum person." These punks are from 
Singapore and sing in Finnish. It's very raw, D-Beat, 
and Scandi influenced. This tape sounds like it's on 
the wrong speed, but it's not, you know 'cause it's 
a cassette tape. It's like DISCHARGE on a fuck ton 
of amphetamines. This tape fucking rules. I wanna 

pogo with them at 2am in my kitchen or something to 
TERVEET KADET. This demo rules! It should really 
be an LP. (Amelia) (9-song cassette, lyrics in Finn- 
ish with English translation, Blood of War Records, 
Cactus Records, band contact: Hafiz, Tampines St 45, 
Block 498F, #04-414 Singapore 524498 SINGAPORE 
subsistencepunk@hotmail .com) 

VERSKLAVEN - Sounds like a blackened, crusty 
love child from a filthy fornication between SLAYER 
and SACRILEGE. (Amelia) (4-song cassette, lyrics 
included, Fermented Chaos, fermentedchaos@gmail. 
com, $5 postage paid,, 
1719 Weber Street, Houston, TX 77007) 

VICIOUS PLEASURES - This band seems to 
make some nods towards ARCTIC FLOWERS and 
Scandinavian punk like KNUGEN FALLER without 
fully falling into either camp. At times, I can also hear 
traces of the GITS. I guess the best way I can put it is 
by saying they are fully entrenched into the gloomy 
Pacific Northwest punk sound, but they are a little 
more upbeat than some of their peers. It's dark, me- 
lodic and rocking. This is a great first demo and I'm 
excited to see what this band does in the future. (Greg) 
(5-song tape, lyrics included, viciouspleasurespdx® 

VILENTLY ILL - "Moment of Chaos (2012 
Demos)" - How long's it been since Mr. Lersten 
has been strapping on his guitar, priming his drum 
machine, and laying down his own brand of outsider 
hardcore punk? Not sure, exactly, but it's between fif- 
teen and twenty years. Commendable. The sound here 
is— as it's always been— meat'n'taters hardcore punk 
with occasional bursts of tolerable wackiness, with the 
majority of his tunes clocking under the one-minute 
mark. (Justin) (10-song cassette lyrics included, ($3 
ppd US / $6 ppd World Knot Music PO Box 501 , South 
Haven. MI 49090-0501) 

WHITE PAGES - Wild, flailing, fast, somewhat- 
melodic punk from Boston. Female and male vocals 
share the mic and hoarsely shout out lyrics. They con- 
stantly sound like they are on the verge of falling apart 
all the way through this blown out, live recording. Half 
of the songs are covers (the PLUGZ, the AUTHORI- 
Definitely punk. (Greg) (6-song tape, no lyrics includ- 

WHO$HIT - WHOSHIT is a now defunct Japa- 
nese band and this tape is a compilation of all their 
recorded output. First off, I think WHOSHIT is a sick 
name. Secondly, this is totally raging Japanese hard- 
core that has a straight up GAUZE/LIPCREAM vibe 
to it. So many sick songs on here. Great look. If you 
like Japanese hardcore you probably won't be mad at 
this tape, just sayin. (Tony) (10-song cassette, lyrics in 

WORN OUT - Some serious grinding crust up in 
here. Definitely a style that's done to death but WORN 
OUT knows the what's and how's to do well with their 
craft. The formula is very by the books for the style as 
far as when and where blast, when to get slllllowww- 
ww, and when to hit a mid tempo stride, complete with 
the screamer and growler trade-offs, but they make up 
for following a pattern by being super tight with it, 
knowing their songs, knowing their instruments, and 
the nice recording helps too. This rises to the top of 
the genre. (Justin) (10-song cassette, lyrics included, 
wornxouf @ gmail .com , wornxout .bandcamp .com) 

V/A'- To Live A Lie Sampler - America's flag 
bearer in the fastcore/grind department raises that flag 
a little higher with this comp. SEX PRISONER, SHIT- 
PARADE, EDDIE BROCK and heaps more, Get ready 
to blast off. (Robert) (26-song cassette, no lyrics, tol- 

Send zines for review to: MRR, PO Box 460760, San Francisco, CA 94146. Please include the following info on a separate 
piece of paper with your zine: postpaid price, international price, do you take trades?, size, copied or printed?, number of 
pages, language, mailing address, website address, email address. 

Reviews by: 
(AR) Ariel Amend- All 
(MB) Mariam Bastani 
(JB) Julia Booze 

(EC) E.Conner 
(AE) Amelia Eakins 
(FF) Francesca Foglia 
(DG) Dan Goetz 

(LG) Layla Gibbon 
(BG) Bob Goldie 
(SL) Sam Lefebvre 
(BL) Brad Lambert 

(MM) Marissa Magic 
(KM) Kevin Manion 
(JM) Jeff Mason 

(CR) Casey Ress 
(KR) Keith Riley 

ABSOLUTELY ZIPPO #9 / $1 trades OK 
8.5 x 5.5 - copied - 24 pgs 
Another issue of this excellent publication is 
always cause for celebration; this one contains 
ail interviews, with Forced Into Femininity dis- 
cussing the house party/backyard show destruc- 
tion scene differences between the Bay Area 
and Chicago, Alanna from Songs for Moms and 
RVIVR, and the evil genius behind the Midnites 
for Maniacs triple bill sat the Castro movie the- 
atre. (I saw one of his showings involving Ladies 
and Gentlemen the Fabulous Stains there; it 
included a costume party with a bunch of people 
dressed up as skunks...). The interviews are 
great and' read like conversations, Jesse of 
Midnites for Maniacs talks about film in a really 
interesting way, where he brings up this idea that 
you have to let each film "achieve its own goals," 
rather than holding everything up to something 
that has already been made in an era that was 
more golden. It's a cool idea, trying to see some- 
thing on its own terms rather than in the context 
of history all the time. All of the interviews were 
cool and captured the interviewees voice, the 
one with Alanna was really great, where she dis- 
cusses the contrasts of touring with a popular 
band that attracts people who have different 
ideas of what is acceptable behavior or who 
have different ideologies to the kids that go the 
Songs for Moms shows. Anyway, I would recom- 
mend this wholeheartedly; I am not a huge fan of 
the interviewee's music, but found the interviews 
fascinating anyway, such a gppd sign of a great 
zine. I especially liked Eggplant's introduction 
and the casual cut'n'paste aetshetic. (LG) 
PO Box 4985 Berkeley CA 94704 

BRAIN STORM #2 / $5 ppd 
5.75 x 8.75 - copied - 64 pgs 
Second installment of this pop-punk-centric zine. 
After a short editorial about a recent Time article 
discussing introversion, it quickly becomes 
apparent that interviews are the main focus of 
this zine. There are exchanges with Leatherface 
(really awkward interview), Hot Water Music, 
Iron Chic, Banner Pilot, the Bomb and several 
other bands of the more poppy variety. In tradi- 
tional fashion, the closing pages are littered with 
book and record reviews. Brain Storm reminds 
me of the Australian zine Jerk Store in that it's 
well designed, teeming with a genuine apprecia- 
tion of the genre, and covers both well and less- 
er-known pop punk bands. Unfortunately, I don't 
have much interest in the overwhelming majority 
of groups discussed inside this issue, but if pop 
punk is your bag, you should definitely check this 
out. It also comes with a 26-track compilation CD 

featuring bands such as Civil War Rust, the 
Anchor, Rations, and Crusades. (KM) 

DON'T TREAD ON ME #13 / $1 ppd 
5.5 x 8.5 - copied - 24 pgs 
Baseball season is upon us once again. So, 
instead of actually reviewing this awful zine, I 
thought I'd share a story with you all. About 
twenty years ago I was at an Orioles vs. Red Sox 
game at Camden Yards in Baltimore and was 
seated directly behind a gentleman wearing a 
Mighty Mighty Bosstones t-shirt. Keep in mind 
that this was around 1993, several years before 
the Bosstones started getting radio airplay and 
subsequently became huge. I had no idea who 
they were at the time, but I was entranced by this 
guy's shirt. The entire back of the garment was 
nothing but words describing how and why the 
Bosstones sucked. I was fascinated. I decided I 
wanted to purchase one of their CD's to see why 
they sucked so much, but none of the local 
record stores in my small suburban town carried 
any of their albums. I soon gave up on hearing 
this apparently terrible band. Years later, when 
they started getting popular and all the douche 
bags at my high school decided that ska was 
cool (it wasn't), I began scouring the merch sec- 
tions of all the shitty mainstream rock magazines 
of the day looking for the "Bosstones Suck" shirt. 
I had to have it, if only to piss off the kids that I 
hated who had just discovered ska. 
Unfortunately, I never found the shirt, but I later 
read that Taang! records had the shirts printed 
after the Bosstones abruptly jumped to a major 
label. Anyway, the point of the story is that this 
zine sucks way more than the Mighty Mighty 
Bosstones. (KM) 

4047 Hunt Road / Fairfax, VA 22032 

DON'T TREAD ON ME #46 / $1 ppd 

5.5 x 8.5 - copied - 24 pgs 
This zine is great if you like inside jokes and 
comedy stylings that are incredibly dated. If for 
some reason you want to waste your time with 
this insufferable garbage you'd probably be 
interested to know that people skewered in this 
rag include: Joe Biden, the Sex Pistols, and a fic- 
tional author named Richard Kitrichardson who 
writes young adult mysteries. There are also two 
"Dear Abby" type pieces that will induce cringes 
in anyone with a functioning human brain. Lucky 
me, I got two issues of this piece of shit zine for 
review this month. (KM) 
4047 Hunt Road / Fairfax, VA 22032 

THE ESCAPIST ARTIST #1 / $1 or trade 
2.75 x 5.5 - copied - 38 pgs 
Claiming influence from Kurt Cobain's published 
journals, this autobiographical zine has the 
author recalling her childhood through diary 
entries, drawings, and pictures, in addition to her 
narrative that drives the story more than the pri- 
mary source material. Jolie recalls a poor but 
happy childhood with parents who struggled with 
money but got her what she wanted for every 
holiday, her first experience with death, early 
musical obsessions, and her first boyfriend, 
among other experiences. The layout is in a 
decent cut-and-paste perzine fashion, and she's 
a good enough writer that the content is interest- 
ing rather than dragging on. Jolie eventually 
learned to embrace her weirdness, and the sec- 
ond issue of this zine is to tell the story of high 
school: the metal years, (DG) 
c/o Jolie Nunez-Noggle / 625 W. Division / Union 
City, IN 47390 / 

EQUALIZING DISTORT Vol. 12, Issue 01 / $? 
8.5 x 11 - copied - 35 pgs 
Everything you ever wanted to know about Sons 
of Ishmael. For real. The questions are great and 
the guys in this band are a riot. The stories about 
early punk in the middle of nowhere a.k.a. 
Meadford, Ontario give a true depiction of how 
these kids really started something from nothing 
where one had to sort through the Led Zeppelin 
to get to the Clash. I like how they found 
Maximum Rocknroll in Toronto and it gave them 
hope to keep going. MRR really is a punk saver 
in small towns where it makes one's love for 
punk seems less futile because reading MRR 
reiterates that we're not alone. There's proof of 
the international punk spirit — in print! Eventually 
these guys toured the States and wound up at 
the old MRR house and hung with Government 
Issue who "drank a lot of milk" and "were really 
positive." Being an ex-ABC No Rio volunteer, I 
really got a kick out of the story of ABC when 
they opened for Rorschach and Born Against. 
ABC hasn't changed much. They were treated 
well, paid well, and played to a full house. They 
even played the same day the Iron Curtain fell, if 
that gives you a good perspective of the era of 
their hey day. One of them suggested ABC 
should be renamed "ABC-No-Toliet-Paper" 
which still rings too true today. I read the whole 
thing cover to cover and was never bored. This 
isn't really the type of music I nerd out about, but 
fuck— what a solid interview! This zine continues 
to impress me because it gets me to read about 
bands I normally wouldn't research and does a 


damn fine job. Besides the Sons of Ismael inter- 
view, there are reviews in the back ranging from 
grind bands like Triac to the revered Japanese 
band Warhead. Punks.of ail genres, go read this! 
Equalizing Distort kills it. (AE) 
89.5 Tower Road / Toronto, ON M5S 0A2 

FUCK THE WORLD Vol. 1 / Always Free 
5.5 x 8.5 - copied - 8 pgs 
Kevin's a smart guy. Even though he couldn't fig- 
ure out how to make a double-sided copy he 
overcame it and just glued single sided copies 
together, and because he had already cut them 
he decided to fuck him some staples and go 
straight for neon zip ties as fasteners. Kevin 
might be my hero. Kevin eschews a traditional 
introduction and instead delivers a list of things 
you should hate. I only disagree when he says 
"most" cops... Let's be real and admit that we 
want every pig dead. Kevin writes raw poetry 
that I always agree with. From Leather Promise: 
"the heart however does whatever the fuck it 
wants to I guess I'll have to keep an eye on that 
bastard." Complete with illustrations that com- 
pletely depict his point. Imagine a heart with and 
face construed in a most "I don't not give a fuck 
expression" complete with stubble and a ciga- 
rette with arrows pointing to it reading" Dickhead" 
"Inconsiderate" "Shallow" and "Weak." Kevin uti- 
lizes the cursive he learned in the third grade on 
every page giving the whole piece a 
very romantic vibe. Kevin, I don't want 
to be my own fucking hero, I want you 
to be my fucking hero. (EC) 
Kevin Tully / 304 Centre St. Apt. 2 / 
Jamaica Plain, MA 02130 

GIVE ME BACK #6 / $? 
8.5 x 11 - Gopied - 40 pgs 
This issue has been reprinted from 
2008, but luckily the features either 
still seem relevant of they're interest- 
ing in hindsight. Indeed, an interview 
with Layla Gibbon shortly after she 
became coordinator of MRR finds her 
championing the torrid sounds of 
female punk esoterica, obliterating the 
Bust school of femme craft revolution 
absurdity and poignantly iterating her 
perspective on being consumed by 
music as an impressionable teen. 
There is also a brilliant write-up on the once 
flourishing San Francisco bus show scene cour- 
tesy of another MRR contributor, Julia Booze, 
and interviews with Asshole Parade and Stupid 
Party. The record reviews section is extensive 
but has naturally' become a bit dated. In a few 
more years, the reviews will be interesting to 
look back on but four years is inexplicably too 
soon. The layout is varied, with a classic reck- 
lessness that is still easy to navigate, and the 
sheer amount of content is noteworthy. The 
columns are of a high caliber, with a seemingly 
unintentional focus on gender politics from an 
array of talented writers. I'm not sure whether 
this is available, since there is a note indicating it 
was reprinted specifically for the DC Zine Fest, 
but earlier issues are floating around and they 
are comparably impressive feats of the tiny 
press. (SL) 
PO Box 73691 / Washington, DC 20056 


4.25 x 3.75 - printed - 16 pgs 
This is a small, bright, cute, satirical zine on the 
subject of the MANARCHIST. The manarchist 
heathen is a dummy who only cares about glory 
and fucking. I would contend that most of the sty- 
listic references are a little outdated. These days 
Carharts and Crimthinc have been replaced by 
fitted caps and French nihilist/egoist commu- 
nism. Kudos, for calling the fuckers out. (EC) 

IRREGUARDLESS #1 / $4 US, $6 world or trade 
5.5 x 8.5 - printed - 14 pgs 
This is a really nice crisp photozine filled with pic- 
tures of northwest landscapes and house shows 
brought to you by Mark Gainan. All black and 
white with a minimalist layout, just enough 
descriptions and notations to get your bearings 
but keep it mysterious. The landscapes feel 
lulling and damp while house show pictures 
almost feel jarring, not in a bad way, just like, 
having been murmured gently from all this 
scenery into screaming close ups. Well done. 
4426 SE Yamhill St. / Portland, OR 97215 

IT'S DOWN TO THIS / $4.50 
5.5 x 8.5 - copied - 1 00 pgs 
This zine is long, complex, heavy, and contra- 
dicting. Given the subject 
matter — community and 
collective response to sexu- 
al violence, abuse and 
accountability — this is 

exactly as it should be. 
There is no way to read 
through this and agree or 
disagree with everything 
written, the voices are too 
varied, and this is exactly 
the point. Instead of being a 
guidebook or a how-to this 
acts much more as a contin- 
uous thought, as a conver- 
sation starter, as things to 
think about rather than 
things to follow. It's pretty 
exhaustive and near the 
end I found myself skim- 
ming through, not because 
it had gotten boring or stupid or pointless, but 
just because reading this kind of thing is incredi- 
bly exhausting. All of that being said, this is a 
really, really good zine. (MM) 
Doris Distro / 

MAKE A MESS #3 / $2 email for international 

16 x 11 . - newsprint - 12 pgs 
This is a large format zine, sort of in the tradition 
of Nuts where there isn't an editorial voice; it's 
just a collection of representations of a musical 
community. Meaning there are no editorial com- 
ments/perzine ramblirigs. Just interviews and 
artwork from various forces of punk rock, from 
the Hysterics, Olympian hardcore rampagers, a 
tour diary/interview thing with Limp Wrist about 
their South American tour, Gun Outfit's guide to 
why bands should break up, a goofy interview 
with Bleached, one with Dunes, both LA lady 
bands, and a very stoned one with new genera- 
tion skate rock devotees, Culture Kids. This zine 

looks really cool, very minimalist' aesthetic in 
comparison to" most zines, with a lot of attention 
paid to the design and art along with the written 
content. Definitely worth your two bucks! (LG) 

THE MATCH! #110 /Free 
9.5 x 14 - printed - 74 pgs 
Among its various accomplishments, The Match! 
wins the lifetime achievement award for most 
beautiful Anarchist publication in circulation. 
Fred Woodworth has been printing this journal 
out of his home in Tucson, Arizona since 1969 on 
antiquated equipment, in stubborn defiance of all 
that is digital. Quaint in its earnestness, The 
Match! has maintained an unparalleled integrity 
and consistency of vision in its 40 plus years of 
publication. With its trademark extensive letters 
section, a column titled "Who the Police Beat" 
detailing just that, and heaps of contributor- 
based essays and short fiction alongside the 
cranky and astute musings of its editor, The 
Match! is sure to get under your skin no matter 
where you stand on politics, maybe even enough 
to write an outraged letter of your own. (FF) 
PO Box 3012 / Tuscon, AZ 14213 

5.5 x 8.5 - copied - 24 pgs 
This zine contains three stories, three poems 
and three comics written during the publisher's 
travels through Central America. The writing is 
cohesive, but it's obviously the work of an author 
who has experience, but not necessarily with fic- 
tion. This sort of experimentation with various 
forms is precisely how to develop dynamic writ- 
ing skills, and I admire the publisher for releasing 
such personal work. (SL) 
Nate Perkins / 1548 W. 1400 N. / Provo, UT 
84604 / 


VOL. 07 / $? 

8.25 x 11 .5 - printed - 82 pgs 
Japanese punk is a vast multifaceted scene that 
I know pretty much nothing about. There is a lot 
in this magazine that I don't understand because 
I cant read it. Fortunately everyone speaks the 
language of "pretty girl's titties." This magazine 
also happens to be fluent, flaunting a 2012 girls 
in punk calendar. I'm pretty sure all the women 
pictured are in bands, I wish I could hear them. 
There are lots of photos of men playing in bands 
with all of their clothes on, but I'm not complain-' 
ing. it's probably better that way. There's a bunch 
of reviews and some interviews and loads of ads 
for Japans equivalent to Angry Young and Poor 
and (EC) 


$3 or trad,e 

8.5 x 5.5 - copied - 28 pgs 
This perizine opens with a rather convoluted 
explanation of how this zine got it's name. Long 
story short, this zine is totally unrelated to Ms. 
Noogle #1 and it probably would have been eas- 
ier to just choose a different name. As the title 
implies, this issue is a collection of letters — ones 
the author wrote to old boyfriends. Unedited and 
uncensored, with photos and the real names of 
said boyfriends. While I am generally totally in 


favor of cathartic processing in zines — it's actu- 
ally one of my favorite things about perizines — I 
have to admit I completely hated this zine. I try 
not to trash people's zines, especially ones 
where people are emotionally vulnerable. But I 
just can't help it. I really, really hated this zine. 
There were a lot of grammatical errors and I 
don't approve of the real names and definitely 
not down with the photos. But I think the main 
reason is I found the author impossible to relate 
to and overwhelmingly annoying. The whole 
thing just was childish and disgustingly melodra- 
matic. Not just the letters— though those were as 
well— I mean the actual relationships they are 
addressing. Ms. Noogle (yes, that is her real 
name) and her life seems an unaired episode of 
90210. Ew. (AR) 

Jolie Nunez Noogle / 625 West Division / Union 
City, IN 47390 / 


$3 or trade 

8.5 x 5.5 - copied - 38 pgs 
The issue is about Ms. Noogle's (yes, that is her 
real name) alcoholism and 'sex addiction.' I.E. 
Constant drunken sex, drunken accidents, steal- 
ing peoples boyfriends... I dunno. It's not really 
her talking about being an alcoholic (in fact, she 
denies it) it's just her telling stories of all the dra- 
matic shit she did while drunk — stupid drunken 
people doing stupid dramatic things for attention 
and then writing poorly about it. Everything 
recounted in here is just pathetic and immature. 
This issue is mostly comprised of entries from 
her LiveJournal, and excerpts from other zines 
she's written. The whole thing is just so high 
school it's kind of nauseating. (AR) 
Jolie Nunez Noogle / 625 West Division / Union 
City, IN 47390 / 



8.5 x 5.5 - copied - 26 pgs 
As the title states, this is the last issue of this 
zine. It's kind of random, but follows the same 
formula of the other two zines: LJ entries, reprint- 
ed excerpts from other zines, and poorly written 
whining. Also this issue has ads (really! The last 
page is all ads), and a few pieces talking about 
(and showing) the authors collage art. All I can 
say is I'm glad this zine is over. (AR) 
Jolie Nunez Noogle / 625 West Division / Union 
City, IN 47390 / 

ERAL COMMONS OF 1811-12 / $6.96 
8.5 x 5.5 - printed - 45 pgs 
For those who don't know, Ned Ludd is semi- 
mythical Folkloric hero that inspired some anti- 
technology peasant uprisings in England. These 
so-called Luddites have never really been taken 
seriously by most of academia — due to their 
rejection of "progress" they have been stereo- 
typed as uneducated and backwards. This pam- 
phlet is an attempt by the author Peter 
Linebaugh to show that is an unfair reputation. 
He links the Luddites to contemporary English lit- 
erature — namely Percy Shelley's poem Queen 
Mab, as well as indigenous and slave uprisings 
in America, among other things. When he sticks 
simply to the past, Linebaugh does a fairly ade- 
quate — if a little vague— job of articulating his 
point. He fails pretty spectacularly when he tried 

to link the Luddite standpoint with an anti-nuclear 
one, referencing the Fukushima nuclear melt- 
down frequently. Also, as someone who had 
never read Queen Mab before, it might have 
been helpful to reprint the poem in its entirety. 
Overall, I'd say it's an acceptable, though not 
especially challenging, dynamic, or in depth 
piece on history. (AR) 
PM Press l-PO Box 23912 / Oakland CA 94623 


Spring 2012/ $2 
5.5 x 8.5 - copied - 22 pgs 
This is a combining of two zines that I already 
had a soft spot for, Node Pajomo and Pukka 
Joint Massif. This contains reviews of zines and 
also acts as a mail art portal. Beyond just being 
a well done zine — good writing, aesthetically 
pleasing layout, bizarre scrapes of ephemera 
stapled in — I really like not only its obvious love 
of all things mail 

art, ranging from paper ephemera to weird 
objects to even audio collages, but it's complete 
devotion to keeping these things alive via sug- 
gestions, exchanges, want ads and so on and so 
forth. It makes me happy in the same way 
Baitline!!! makes me really happy, in just the con- 
tinuing cultivation of simple quirky tangible things 
sent through the 

mail in order to connect weirdos to weirdos. (MM) 
PO Box 2632 / Bellingham, WA 98227 

OX FANZINE #100 / February-March 2012 / ? 


8.5 x 11 -printed- 122 pgs 

The zine is in German, so I can't read it. It has 

interviews with Jello Biafra, Against Mel, Wolves 

in the Throne Room, Melvins, and NOFX on the 

cover so I don't think I'd want to read it. (AR) 

PASAZER #28/29 / 22 zl 
7.75 x 12 - printed - 212 pgs(!) - Polish 
Fuckin' ay, I'm glad this is a double issue, it's big- 
ger than the Bible. There are a number of 
American bands on the cover, all of whom are 
super-ancient. Some of the Polish bands are too. 
I'm fairly ignorant of the Polish scene, but I do 
think Cymeon X, Zlodzieje Rowerow, and 
Dezerter are way more relevant today than 
Pennywise, the Avengers, and Boy Sets Fire. In 
any event, a million bands of many different 
types are interviewed or featured inside, and 
there's a column from Robert Refuse. The pho- 
tography reproduced very well. Included is a 25- 
band compilation CD. I don't understand how 
there can be so few ads. (JM) 
PO Box 42 / 39-201 Debica 3 / Poland / 


US, $3 CA & MEX, $4 Everywhere Else, Trades 

4.25 x 5.5 - copied - 40 pgs 
I'm supposed to think this guy is like really inter- 
esting but also really approachable or some- 
thing. It's all "Blah, blah, blah, I worked a shitty 
job in a shitty town New Orleans is rugged and 
romantic and I'm special because I moved there 
from some other shitty place blah, blah, I like 
girls but they don't like me back blah, blah, blah, 
I read too much Bukowski and it makes every- 
thing I write shitty but it also has something to do 

with the drinking problem I developed to com- 
pensate for my lack of phallus prowess." Blah. 

Kelly Dessainf / PO Box 86714 / Los Angeles, 
CA 90086 / / www.pilt- 


MEX, $4 Everywhere Else, Trades Welcome 
5.5 x 8.5 - copied - 40 pgs 
Kelly goes back in time to recount his adolescent 
experiences selling candy door to door in 
Southern California. I'm really tired of reading 
about people's shitty jobs. This is still pretty 
funny though and at least he doesn't complain 
about girls throughout the whole thing. Man, It 
really sounds like that job sucked. (EC) 
Kelly Dessaint / PO BOX 86714 / Los Angeles, 
CA 90086 / / www.pilt- 

2.75 x 4.25 - copied - 6 pgs 
A short and sweet read that fits in your back 
pocket and is hard for those with poor vision to 
read. This has practical advice like keeping a 
cool head, a short list (at two entries, about as 
short as this zine) of places to hike in 
Connecticut, and the importance of not spread- 
ing sickness and sending thank you notes. Oh, 
and an ad. (DG) 

RADIKAL #8 / 5 Euros 
6 x 8.25 - printed - 28 pgs - Spanish 
This is a damn good zine coming out of Murcia, 
Spain. It's pact with interviews with Nihil Obstat, 
Silencio Toxico fanzine, Colapso, Bataalla, 
Jesus H Bombs, Decraneo, and includes a rad 
CD-R of a Murcia, Spain punk band called 
Tercera Guerra Mundial who are also inter- 
viewed in this zine (see the review in the demos 
section). Don't let all this music coverage fool 
you. ..this zine is called Radikalior a reason! The 
very first article is a collection of writings reflect- 
ing different opinions within punk about 15M, 
also known as the Indignants Movement, taking 
place in Spain. It's complicated but it is loosely a 
collection of various groups banding together in 
mass protests demanding radical change. This 
is my very basic explanation for those unfamiliar, 
so please excuse it! Now, while there are opin- 
ions offered from all sides in the media, here we 
see other punks and activists explaining their 
support or alienation from the movement. This is 
an interesting read. There is also an interview 
with M.A.S., or Muerte al Sistema, about their 
origins from Murcia and their anti-capitalist 
stance and action. I am oversimplifying this com- 
pletely, but the interview is dense and extremely 
insightful. There are zine and record reviews, 
and plenty of pictures in a clean layout. If you 
read Spanish, this is a good window into the 
political opinions of punks in this region as well 
as a nice break from the severity of the world sit- 
uation just a page over with a CD-R of good 
tunes to carry you the rest of the way. Good stuff! 

Gabriel Caballero / Apartado Correos: 3122 / 
30002 Murcia Spain 


RAZORCAKE #67 / $4 ppd 
8.5 x 11 - printed - 112 pgs 
This ish of the Cake features part I of a really 
long history lesson on the East LA '70s band 
Stains. It reads a lot like any of the punk oral his- 
tories you run across these days, pretty rambling 
and nostalgic. Notably they were one of just a 
few bands that hail from East LA in those days, 
and it is fun to read about how they "stumbled" 
into music instead of (or in some cases in addi- 
tion to) the typical lifestyle of work constantly and 
have a family that was arid is anathema to punk. 
But they emphasize how important punk still is to 
them and I always appreciate that as opposed to 
some older punks saying "punk ended in '79 and 
whatever it is you kids are into is something 
else." Also featured are Dead Uncles and Cheap 
Time. Plus reviews and columns and ads for stuff 
made on the computer. (JB) . 
PO Box 42129 / Los Angeles, CA 90042 

SELF AWARE #9 / $1 
5.5 x 8.5 - copied - 22 pgs 
When I opened this zine and saw a 
top ten sets at the Fest in Gainesville 
with Kid Dynamite topping the list 
had low hopes for this zine, but this is 
not reflective of the rest of the content 
of what is overall a good zine. A vari- 
ety of people contribute, and while the 
content varies in quality depending on 
who is writing (some of the band inter- 
views focus a bit too much on "career 
move" type stuff), articles such as the 
Wilmington, North Carolina scene 
report, recap of a trip to Chaos in 
Tejas, and guest column by Joe of 
Seven Inches To Freedom zine that 
ends with "[p]ull the plug when life 
ceases to matter" sum up the enthusi- 
asm and exhilaration of being a punk 
in a small town, and the record 
reviews are well-written and well-informed, 
Despite being laid out on a computer, the layout 
has a rad cut-and-paste feel to it, and is compe- 
tent and aesthetically pleasing. Good work. (DG) 
c/o Joshua Robbins / 4901 Cedar Forest Drive / 
Charlotte, NC 28226 

SPARE CHANGE #22 / $2 

5.5 x 8.5 - copied - 30 pgs , 

This zine begins with an interesting, not very 
analytic, "Highlander Theory of Rock'N'Rpll". The 
Highlander Theory of Rock'N'Roll begins with 
Elvis and ends with Danzig. My question is, 
who's next? There can only be one. This makes 
me want Danzig and his bald spot to get it over 
with so I can find out who is the next "one," ya 
know? There is a section about eating unhealthy 
salads and an endearing section on Rock'n'roll 
Jews, which even gives a shout out to MRR's 
very own George Tabb. Oh, and the piece on 
Harold Camping's rough going in 2011 was a 
riot-we're all still here. ..Up yours Family Radio! 
This was a good read. (AE) 
PO Box 6023 / Chattanooga, TN 37401 


5.5 x 8.5 - printed - 176 pgs 
This has been out for over a year, but better late 
than never. It's huge, square-bound, and filled 
with writing. There are no reviews, ads, or band 

shit, but there's a ton of interviews, which are 
very well done. Writers (including some famous 
punks and ex-punks), artists, a falconer, and a 
guy who runs a wolf sanctuary are interviewed. 
There are articles/travelogues on the state of 
destruction in West Virginia, the underground 
gardens of Fresno, CA, and much else. 
Thankfully I bought and read this a while back, 
cuz I'm not sure I could have read it all by (a lit- 
tle after) deadline. The editor is Joe Donohoe, 
who has produced quality work in the past. This 
is even better and very highly recommended. A 
bargain at five bucks, and I don't say that about 
many zines. (JM) 

3345 20th St. / San Francisco, CA 94110 / 

THE STUDENT INSURGENT Vol 23., #2 / sub- 
scription $15/year, free to prisoners 
8.5 x 11 - printed - 40 pgs 
As the semesters change, different editorial 
slants emerge at this University of Oregon-pro- 
duced zine. This one is explicitly political and 
anarchist, one of the best 
issues they've produced 
(out of the ones I've 
seen.) Many of the arti- 
cles deal with the Occupy 
movement, with news 
reports on the West 
Coast port shutdown and 
the government response 
to Occupy Oakland. 
Other articles more 
broadly analyze the role 
of capital and media in 
society. This is a better 
paper for people just 
learning about these 
issues than those deeply 
read or involved. There 
are some short news 
pieces, poetry and fiction. (JM) 
1228 University of Oregon / Eugene, OR 97403 

TNS RECORDS #13 /Free 

5.5. x 8.5 - copied - 30 pgs 
This is the Volume three Compilation special 
issue that comes with two CDs. This zine comes 
out of the UK. It has an interesting and contro- 
versial section on the best of mainstream music 
that explores releases from Nirvana to Rage 
Against the Machine and why it's not always that 
bad? This is a reactionary piece to the 
"Mainsteam Music Is Shit" movement that the 
writer apparently helped to start? There are also 
interviews with Hated Til Proven, From The 
Cradle To The Rave, Black Star Dub Collective, 
The Autonomads, Entez Anomicoz, Braindead, 
Snapping Turtle Press, Strummercamp and 
some more. TNS is an active label, fanzine, radio 
show, and distro that's been around since 2003. 
(AE) \ 

17 Heywood Road /iPrestwich, M25 1FB, 

5.5 x 8.5 - copied - 40 pgs. 
Based out of Missouri's fifth largest city of 
Columbia, this zine has a definite focus on the 
local scene in its town, considering that the 
majority of its content comes by way of local live 

reviews. The publisher has a particular zeal for 
live music, as tie offers observations on numer- 
ous shows he attends, even multiple perform- 
ances in a night. Most of the bands covered 
seem to fall in the indie rock realm, peppered 
with. some hardcore, but there is the sense that 
the publisher will go to just about any type of 
show and write about it, which is admirable, but 
doesn't foster a real identity for the publication. 
The layout is a little flat, with simple photographs 
that don't lend themselves very well to being 
photocopied surrounded by computer font with 
no real artistic flourishes. The highlight is 
undoubtedly an analysis of Santorum's rise to 
the forefront of the Republican candidacy. The 
publisher seems to have more of a flare for 
addressing political issues .than music, and an 
issue balancing the two topics more . evenly 
would be more engaging. (SL) 
PO Box 1444 / Columbia, MO 65205-1444 / 

TRUST #153/ 2.50 EURO 

8.5 x 12.5 - printed - 64 pgs - German 

Still raging, still flawlessly designed, still entirely 

in German. This latest issue of Trust features 

interviews with Hazelwood records, Civil Victim, 

Denovali records, OFF!, Forgetters, and 

Descendents (wish I could read this one): 

There's also the usual slew of zine and record 

reviews, and some great black and white photos 

of Alpinist. (KM) 

WHATEVER #6 / $2 
5.5 x 8.5 - copied - 50 pgs 
This is like a mixtape zine, like pretty much all of 
it is articles, interviews and comics from other 
zines. There's stuff from JDs, MRR, Razorcake 
and on and on. Interview with Peter Berlin, cov- 
erage of the detaining of the Indonesian punks, 
some Hare Krishna stuff, skate zines of the 
1980s, so on and so forth. You know, whatever. 
PO Box 8223 /Ann Arbor, Ml 48107 

ZARATA #6 / 3 Euro ' 

8.25 x 11.25 - printed - 84 pgs - Basque / 

This is a great anti-facist Skinhead zine from 
Basque country Spain. This zine is packed with 
interviews Cock Sparrer's Steve Bruce, Lee 
Wilson from Infa-Riot, Subculture, Arthur Kay of 
Last Resort fame, Bad Manners, Redskins, the 
Press, Hard As Nails fanzine, Kapula, Zer Bizio, 
Akatz, Guitar Gangsters, the Guv'nors, Irvine 
Welsh (!) and articles about the Clash in 
Hamburg, Slaughter and the Dogs, Stiff Little 
Fingers, a section devoted to football (soccer for 
you folks) and to punk books covering Barcelona 
in the '80s and more! Holy shit there is a ton of 
content here! From what I could read, this zine 
emanates jts love for Skinhead culture. The 
interviews and articles are interesting, and the 
care taken in selecting photos and the layout is 
apparent. The author respects his audience and 
in turn ,ne is getting it right back. Even if you 
aren't fervent fans of the bands covered here, 
this zine is a solid read. What ever your opinion 
of Skinhead culture may be, this is not only proof 
that it is alive and relevant, but also interesting. 
Cool zine, Oi! (MB) 

A56 , 


MO Rio? 

ALVJ^S AU-.A6E.S ANt> ^ -BUx!/ 
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full lenght debut album 
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